Lipkind plays Schubert

April 8, 2017 · Tonhalle Zürich · 19:30
Lipkind plays Schubert · Tonhalle Zürich · April 8
“ [...] a recognizably unique sound, captivating in its clarity of musical thought as well as its instrumental power and flair. [...] command of style on behalf of all interpreters which however never lead to an academic approach or became a purpose in itself for these full blooded musicians. Each of them an internationally sought-after soloist [...] technically outstanding [...] they played the whole program from memory seated as close to each other as the bow movement allowed [...] The result is most impressive all around."
G E T  T I C K E T S
Cellist Gavriel Lipkind comes back to the Tonhalle on April 8th, 2017, with an exposing intimate Schubert-journey. He spent the last five years performing Schubert with his closest musical friends: The violinist Artiom Shishkov, the cellists Dongkyun An and Stefan Hadjiev and his wife the violinist Anna Lipkind. 


Triosatz *
B-flat-Major D. 471 

Arpeggione Sonata 
A-minor D. 821 
(arranged by G. Lipkind for a string quartet accompaniment)


String Quintet *
C-Major D. 956 

* Lipkind will perform the viola part (in the trio and quintet) on an instrument he developed in recent years: The violino bassoThis program is a premiere-showcase of the violin basso. 
Gavriel Lipkind · cello · playing with shadow
Gavriel Lipkind about the Violin Basso:

“ [...] The role of the violino basso in this program is not to replace the cello but rather to fill in the gap between the violin and the cello with an alternative to the modern viola. The honest and transparent voice of the violino basso offers a wonderful Schubertian “Altus”. Ironically, in the Arpeggione Sonata — a piece that was written for an instrument that is a marriage between cello, viola, and guitar — I choose to play the cello for its wider dynamic range, the instrumental bravura of the cello transcription and the more contrasting dialogue with the accompanying violins. I can’t wait to play this program in the Tonhalle”.
Lipkind plays Schubert · on stage photo
Lipkind Quartet members
Artiom Shishkov · violin [second right]
Anna Lipkind · violin [second left]
Gavriel Lipkind · violino basso / cello [center]
Dongkyun An · cello [left]

Guest artist
Stefan Hadjiev · cello [right]
“ A significant percentage of listeners left the hall in tears. "
Artiom Shishkov · violin
“ [...] A different way of making music, which is not subordinate to the stereotypes of today’s concert world, but rather is a result of mutual respect, knowledge and mastery [...] It starts with the selection of the program [...] a marvellous acoustic experience [...] a string quartet, which is well capable of stepping into the footprints of the Alban Berg Quartet.“

In 2004, Gavriel Lipkind started experimenting with new approaches to ensemble playing. These efforts gave birth to the evolution of the Lipkind Quartet, the Cello Concertante programs for cello and strings, as well as the Lipkind Plays series which he produces together with his wife, the violinist Anna Lipkind.

Dongkyun An, Artiom Shishkov, Stefan Hadjiev · Lipkind plays Schubert Rehearsal
Gavriel Lipkind in an interview:

“ [...] not only the reasons which brought musicians to play in an ensemble have changed, also the science of psycho-acoustics and instrumental knowledge have evolved.

Finally, being a musician, working as a musician, and collaborating with other musicians in a chamber group on a regular basis in the 21st century, are light-years away from the realities of the past. The traditional ways of working in an ensemble, which are based on these past realities, require a fundamental review and a radical re-thinking in order to fit the way ensembles can live and sound today. […]

When I started researching this field, many string ensembles seemed to blindly follow traditional models believing that these evolved over hundreds of years and (therefore) cannot be further optimised. We started by looking for new ways to improve the interpretative process, and trying practical “codes of conduct” by which an ensemble functions. […]

Musically speaking, we found ourselves confronting strange questions such as: 
  • Where does continuity come from? Is it the tempo / dynamic anticipation / harmonic tension? Or is there another underlying interpretative tool; a principle that defines Schubert’s time-space and allows us to 'connect the dots’ in the listener’s mind?
  • Is there a principle according to which time can be shaped throughout the movement? Or should we intuitively apply rubato / rhythmicity / and tempo changes? Maybe rather just play strictly what’s written; hoping that the notation itself perfectly Much too serious Lipkind Quartetrepresents the music? Maybe not...
  • If a note has a beginning — the so called articulation phase — how long does it last exactly? Is it a point in time or something than can be shaped? Is it a noise or a tone? What other qualities does the articulation have that can be interpreted? What happens to the string?
  • Is it important that violinists hold the instrument upside down comparing to cellists? What happens when we try to use an identical bow stroke / diagonal / body movement?
  • How to interpret together not just the absolute instrumental qualities but the rate of change between them. For example a bow stroke that slows down in a specific way, the shape and gradual widening of a vibrato, dynamic waves and “tides”, the softness of the left hand and how gradually it shifts from one note to another.
  • Why is there a discrepancy between harmonic intonation and tempered intonation? How to apply this to the musical texture? How to develop one kind of in-tune-ness?

Lipkind Quartet · hands photo

[...] 'Lipkind plays Schubert' superimposes three contrasting works by the composer, thereby hoping to reveal what it is that makes this music’s irreproachable simplicity and inherent beauty so recognisably understandable and instantly close to our heart. "
This message has been sent to you as a subscriber to our newsletter, a follower of one of the related Facebook pages, a follower of Lipkind Masterclasses, or a recipient of a newsletter in the past sent by one of Lipkind Productions’ agents or one of the artists participating in 'Lipkind plays Schubert'.
Copyright © [2017] Lipkind Productions, Neuhausstr. 2, 61440 Oberursel, Germany
Have technical questions? Email us!
Share on FacebookTwitterForward to a Friend
You are currently signed up to our newsletter as . Update Email Address
Direct Mail for Mac This email is powered by Direct Mail for Mac. Learn MoreReport Spam