Sun, 18.10.2026
Duo Recital Siblings Toth - Schubert, Schumann, Barber
Concert title
Duo Recital Siblings Toth - Schubert, Schumann, Barber
Date
Sun 18.10.2026
Start of the concert
11:00
Contributors
Name of the ensemble
Sibling duo Toth
Soloists
Manoush Ruken Toth - Piano,
Anouk Minou Toth - Cello.
The Toth sisters have already achieved considerable renown as young musicians. They have received numerous international awards and have been performing together for many years alongside their solo careers.
This year, Manoush Toth represented Switzerland at the Eurovision Young Classics in Yerevan, performed at the András Schiff Piano Festival in Ernen, and last year gave numerous concerts in Vienna, including as a scholarship recipient of the Lieven Foundation.
Anouk has performed concerts from Brazil to Hamburg and Vienna, and tours internationally with the renowned LGT Young Soloists, among others.
Anouk Minou Toth - Cello.
The Toth sisters have already achieved considerable renown as young musicians. They have received numerous international awards and have been performing together for many years alongside their solo careers.
This year, Manoush Toth represented Switzerland at the Eurovision Young Classics in Yerevan, performed at the András Schiff Piano Festival in Ernen, and last year gave numerous concerts in Vienna, including as a scholarship recipient of the Lieven Foundation.
Anouk has performed concerts from Brazil to Hamburg and Vienna, and tours internationally with the renowned LGT Young Soloists, among others.
program
Franz Schubert, Arpeggione Sonata in A minor for Cello and Piano, D 821;
Robert Schumann, Fantasy Pieces, Op. 73;
Samuel Barber, Sonata for Cello and Piano in C minor, Op. 6.
Franz Schubert's Arpeggione Sonata D 821, as the name suggests, was originally written for the now largely forgotten instrument, the arpeggione. The arpeggione was a fretted, guitar-like instrument, but with six strings, held between the knees and played with a bow.
The sonata was composed in the spring of 1824 during a period rich in chamber music, concurrently with his famous quartet "Death and the Maiden." Besides the typical Schubertian wealth of beautiful and incredibly moving melodies, the sonata captivates with its virtuosity and even childlike exuberance and joy of playing.
In Robert Schumann's Three Fantasy Pieces, Op. 73, the cello becomes a human voice: at times intimate and yearning, at others light and playful, then again full of passionate fire – three musical moments that follow one another like the thoughts and feelings of a single, stirring heart.
The cycle originated in his later creative period, when he favored the small chamber music form of three- to five-movement cycles. Some interpret this as a personal retreat into an idyllic setting before the revolutionary turmoil of 1848/49. One could also say, however, that their simple, folk-like expression resonated with the spirit of the age, which sought to create accessible art.
Samuel Barber is among the most important American composers of the early 20th century. Even today, his works are performed relatively rarely in Europe. In contrast to the experimental movements of the 1920s, Barber remained committed to traditional harmonies and forms. As a trained baritone and lover of Italian music, he was deeply sensitive to the human voice, a quality reflected in the lyrical phrasing of his music.
The Cello Sonata, Op. 6, was composed in 1932, at the end of Barber's studies. Its form is clearly influenced by the cello sonatas of Brahms. Intimate, heartwarming melodies meet heroic passion and rhythmic sophistication – music of great expressiveness and immediate emotional impact.
Robert Schumann, Fantasy Pieces, Op. 73;
Samuel Barber, Sonata for Cello and Piano in C minor, Op. 6.
Franz Schubert's Arpeggione Sonata D 821, as the name suggests, was originally written for the now largely forgotten instrument, the arpeggione. The arpeggione was a fretted, guitar-like instrument, but with six strings, held between the knees and played with a bow.
The sonata was composed in the spring of 1824 during a period rich in chamber music, concurrently with his famous quartet "Death and the Maiden." Besides the typical Schubertian wealth of beautiful and incredibly moving melodies, the sonata captivates with its virtuosity and even childlike exuberance and joy of playing.
In Robert Schumann's Three Fantasy Pieces, Op. 73, the cello becomes a human voice: at times intimate and yearning, at others light and playful, then again full of passionate fire – three musical moments that follow one another like the thoughts and feelings of a single, stirring heart.
The cycle originated in his later creative period, when he favored the small chamber music form of three- to five-movement cycles. Some interpret this as a personal retreat into an idyllic setting before the revolutionary turmoil of 1848/49. One could also say, however, that their simple, folk-like expression resonated with the spirit of the age, which sought to create accessible art.
Samuel Barber is among the most important American composers of the early 20th century. Even today, his works are performed relatively rarely in Europe. In contrast to the experimental movements of the 1920s, Barber remained committed to traditional harmonies and forms. As a trained baritone and lover of Italian music, he was deeply sensitive to the human voice, a quality reflected in the lyrical phrasing of his music.
The Cello Sonata, Op. 6, was composed in 1932, at the end of Barber's studies. Its form is clearly influenced by the cello sonatas of Brahms. Intimate, heartwarming melodies meet heroic passion and rhythmic sophistication – music of great expressiveness and immediate emotional impact.
address
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Reservations (limited seating):
triototh@gmail.com
triototh@gmail.com
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