Alexander Lonquich/ Ilya Gringolts, violin/ Narek Hakhnazaryan, cello

Alexander Lonquich was born in Trier, Germany. In 1977 he won the first prize at the Casagrande competition dedicated to Schubert. Since then he has given concerts in Japan, the United States and major European music centers. Professionally engaged with conductors such as Claudio Abbado, Kurt Sanderling, Ton Koopman, Emmanuel Krivine, Heinz Holliger, Marc Minkowski. And especially the relationship he has maintained with Sandor Vègh and Camerata Salzburg, of which he is still a regular guest as soloist-conductor.

The Russian violinist Ilya Gringolts captures audiences thanks to his virtuoso performances and his sensitive interpretations, and is always on the lookout for new musical challenges. Highly sought-after as a soloist, he dedicates himself both to the great orchestral repertoire and to contemporary and less popular works. He gave the very first performances of works by Peter Maxwell Davies, Augusta Read Thomas, Christophe Bertrand and Michael Jarrell. He is also very interested in historical performance practice and collaborates with renowned ensembles such as the Finnish Baroque Orchestra, Arcangelo or Oxford Philharmonia.

Narek Hakhnazaryan

Following the victory of the First Prize and the Gold Medal at the XIV International Ciajkovskij Competition in 2011, at the age of 22, Narek Hakhnazaryan has performed with the most renowned orchestras and in recitals and chamber music for the world’s most prestigious festivals. Narek Hakhnazaryan is a compelling artist, a true virtuoso with an innate musicality and an exceptional talent for relating  with his audience.

May | Monday | 25  | H 20.30

Teatro Auditorium Manzoni




Triple concert in C major for piano, violin and cello op. 56


Symphony n. 3 in F major op. 90


Triple concert in C major for piano, violin and cello op. 56

Year of composition: 1795


  1. Adagio molto; Allegro con brio
    2. Larghetto
    3. Scherzo: Allegro vivace
    4. Allegro molto

For Beethoven it is an intensely busy and feverish period, to whom irony is not unfamiliar, what is the background to the composition of the Triple Concert, defined by the same author with the redundant formula of “Grand Concert concertant”. A piano, violin and cello trio, and an orchestra: more characteristic of chamber music ensembles with the addition of a symphonic orchestra, an experimental endeavour, the Triple Concert, traditionally considered the least popular of his concertos, takes on a particular value in the Beethovian process of “symphony” in concert form. The plot of the continual postponements between soloists and orchestra is supported by a wealth of thematic invention that stands out in the initial Allegro, then transfigures in the singing Largo dominated by the cello, and still refers to tradition with the character traits of the ending.

Symphony n. 3 in F major op. 90

Year of composition: 1883

First execution: December 2, 1883


  1. Allegro con brio
    2. Andante
    3. Poco allegretto
    4. Allegro

Composed fairly quickly after a short period of maturation, the Third Symphony turned out to be considerably more mature and organic than in the previous rehearsals. Brahms it seems, wanted to return to the more serious and demanding intentions of the First Symphony, recasting as much as there may have been experimental or constructively heretical in a superior formal and stylistic synthesis. Among his symphonies, the Third can be defined as the most Brahmsian: a melting pot where the most disparate expressive needs merge continuously and restlessly, each symbolized by different thematic proposals and rhythmic, harmonic and timbral connotations.