1. J. Brahms, Hungarian Dance No. 1
2. S. Rachmaninov, Vocalise
3. P. Tschaikowski, Russian dance from the ballet “Swan Lake”
4. B. Bartók, Romanian Dances
5. I. Stravinsky, Chanson Russe from the opera “Marfa”
6. I. Stravinsky, “Tango, Valse, Ragtime” from the „Tale of the Soldier“
7. V. Vlasov, Paraphrase of a Ukrainian folk song
1. P. Sarasate, “Gypsy ways”
2. D. Millhaud, Suite op. 157b
3. M. Ravel, Tzigane
4. D. Millhaud, Braziliera from the suite “Scaramouche”
The name „Cuarteto Repentino“ comes from Spanish and means „sudden, unexpected“. As unexpectedly as the musicians got to know each other and got together, suddenly a musical language of its own developed. The „Cuarteto Repentino“ describes itself as an ensemble without musical boundaries; with a repertoire of the most diverse musical styles, the spectrum ranges from classical music to Jazz, world music to Latin and Klezmer.
As a young ensemble, they are constantly searching for something unique and surprising. This time they have taken up the theme of Romanticism and put together a fresh, spirited program that includes the most beautiful and significant works of European composers of the 19th-20th century from the Romantic and Impressionist eras.
The selected works are strongly influenced by the folklore of Russia, Hungary, Romania, Ukraine and Brazil up to gypsy music. Since the four musicians come from four different countries and cultures, the mutual discovery of their musical roots has become a source of inspiration and creation of their own style.
No matter how colourful the programme may be, the individual compositions are all connected and work together to form a harmonious picture. The juicy Hungarian motives of Brahms meet unexpected Romanian rhythms of Bartok and come into harmony with the lamenting tales of Sarasate’s „Gypsy tunes“. The „Tzigane“ by Ravel contributes impressionistic colours and thus contributes to constant surprises. This palette is extended by Slavic poetry by Rachmaninov and Tchaikovsky. The works of Stravinsky enchant by exciting rhythmic figures and influence the music of V. Vlasov in his „paraphrase“. The painting is rounded off by the French lightness of Millhaud’s suite and the infectious Brazilian danceability of the „Scaramouche“.