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Day of Classical Music

Classical Concert

Parkstad Limburg Theaters

12.00 - 15.00

Experience an enchanting day filled with classical music at the "Day of Classical Music" on 22 February 2024 at Parkstad Limburg Theaters in Heerlen.    

Get carried away by timeless masterpieces and be surprised by the versatility and creativity of our Junior, Bachelor and Master Classical students of Conservatorium Maastricht.  

You can expect a varied programme from wind-, to string music by ensembles but also soloists. Whether you are a committed classical music lover or just curious, this day has something for everyone!   

 📍 Location: PLT - Theater Heerlen, Burgemeester van Grunsvenplein 145 Heerlen   
📅 Date: 22 February 2024   
⏰ Time: 12:00 – 15:00   
 Buy your ticket now

Can't get enough of classical music? Then visit the "Night of Classical Music" on 24 February. During this evening, the Classical Music Department will open its doors to you. More than 70 concerts will take place throughout the building.



Time Performance Location
12:00 War of the Romantics - Tonia Ioannou Limburgzaal
12:00 Guitar Metamorphosis - Massimiliano Testa Rabozaal
12:30 Junior Recital 2: Huajin Gu en Carmen Lopez Limburgzaal
12:30 The evolution of horn quartets - Kaleidos & Quartifact Rabozaal
13:00 Break  
13:30 Goethe & Verlaine: An afternoon together - Cançao Rabozaal
13:30 Junior Recital 1: Keshav Krishnan Limburgzaal
14:00 Opposite Yet Complementary: Life And Death - Mühlfeld Trio  Limburgzaal
14:30 Schubert's "Unfinished" - Lumen Ensemble Limburgzaal


More about the programme

War of the Romantics - Tonia Ioannou 

J. Brahms - Six pieces for piano op.118
1. Intermezzo in A minor
2. Intermezzo in A major
F. Chopin - Deux nocturnes op.48
2. Nocturne in F# minor
F. Liszt - Ballade no.2 in B minor S.171

Programme notes
"War of the Romantics"
The "War of the Romantics" is a term used by some music historians to describe the schism among prominent musicians in the second half of the 19th century. Musical structure, the limits of chromatic harmony, and programme music versus absolute music were the principal areas of contention. The opposing parties crystallized during the 1850s. The most prominent members of the conservative circle were Johannes Brahms, Joseph Joachim, Clara Schumann, and the Leipzig Conservatoire, which had been founded by Felix Mendelssohn. Their opponents, the radical progressives mainly from Weimar, were represented by Franz Liszt and the members of the so-called New German School (German: Neudeutsche Schule), and by Richard Wagner. The controversy was German and Central European in origin; musicians from France, Italy, and Russia were only marginally involved.
Between the performed pieces, letters from the composers will be read to give an image of the relationship between them.

Tonia Ioannou (piano)

Guitar Metamorphosis - Massimiliano Testa

G. Ph. Telemann: Fantasia TWV 40:21 in E Major ( Arr. Carlo Marchione)

W. Walton: 5 Bagatelles for guitar (1972)
 Allegro assai
 Alla Cubana

L. Brouwer: Sonata No. 1 para guitarra (1990)
 II. Sarabanda de Scriabin
 III. La Toccata de Pasquini

Programme notes
I chose the theme of 'metamorphosis' because I consider it one of the defining elements of my artistic personality. All of the compositions in the programmeme are built upon core elements, the development of which shapes the entire musical structure of the piece. Finally, a series of contrasting episodes in character and feel is achieved through this 'morphing process'.
The hystorical gap between the compositions should not suggest an equally discontinous musical journey. For istance, Telemann's Fantasia incorporates very programmematic features and expressive gestures into the traditional approach to composition, whereas the title "Sarabanda de Scriabin" and "Toccata de Pasquini" in Brouwer's Sonata suggest the influence of Baroque music on what would otherwise be trivially defined as 'contemporary music'.

When he picked up a guitar for the first time, Italian guitarist Massimiliano Testa was just two years old.  From that moment on, his instrument has been integral part of his personal development.

What Massimiliano cares about the most is to express himself and emotionally involve the audience, since he strongly believes that a deeper level of mutual understanding and sense of communion can be reached, through music.

Massimiliano is now studying classical guitar at Conservatorium Maastricht, where he’s attending his second Master in the class of Maestro Carlo Marchione.

In addiction to his concert activity, Massimiliano is very fond of research. He’s about to finish his Musicology Master studies at Tor Vergata University of Rome, conducting a thesis on 19th century guitar repertoire and the importance of Partimento and Galant Schemata for its interpretation.

On 10th December 2019, under the guidance of Maestro Eugenio Becherucci, he obtained his bachelor degree, achieved with top marks and honours. He then continued with his Master studies, graduating with top marks, honors and honorable mention.

Massimiliano Testa (guitar)

Junior Recital 2 - Huajin Gu, Zoi Degtiareva and Carmen Lopez 

D. Shostakovich: The Limpid Stream, Op. 39
 IV. Adagio 
E. Granados – 12 Danzas Espanolas
 V. "Andaluza"
D. Popper - Tarantella op. 33

Huajin Gu (cello) and Carmen Lopez (piano)


J.S. Bach - Violin concerto no.1 BWV 1041 in a moll
 1.  Allegro Moderato
P. Viardot – Six Morceaux, VWV 300
  1. Romance
P. de Sarasate - Danza española op. 21
 1. Malagueña

Zoi Degtiareva (viool) en Carmen lopez (piano)

The evolution of horn quartets - Kaleidos & Quartifact

Kaleidos & Quartifact
Jacques François Gallay - Grand Quatuor, Op.26, 1835 (8 December 1795 – 18 October 1864)
Frigyes Hidas - Kamarazene (1928 – 2007)

Programme notes
Welcome, esteemed audience, to an extraordinary journey through the evolution of the horn quartet—a musical odyssey that spans centuries and encompasses the nuanced expressions of two exceptional ensembles, the Kaleidos Quartet and the Quartifact Quartet.
Our exploration begins at the cusp of the 19th century, a period marked by the emergence of the natural horn. Composers like Mozart and Haydn, captivated by its expressive capabilities, embraced the quartet format to showcase the instrument's lyrical and sonorous qualities. Tonight, the Kaleidos Quartet takes us on a poignant exploration of this era with Jacques François Gallay's Grand Quatuor, Op.26 (1835), a composition that embodies the romantic spirit of the time.
Transitioning through the corridors of musical history, we arrive at the 20th century, where the Quartifact Quartet invites us into the dynamic fusion of tradition and modernity. Frigyes Hidas' "Kamarazene," a Hungarian masterpiece from 1928, serves as a gateway to the contemporary landscape of chamber music. The Quartifact Quartet's interpretation reveals the evolving nature of the horn quartet, where tradition meets innovation in a captivating dialogue.
As these two remarkable ensembles traverse the kaleidoscope of influences, they present not only performances but interpretations—a dialogue between musicians and composers across the ages. The horns, in the hands of the Kaleidos and Quartifact Quartets, become vessels that bridge the gap between past and present, weaving a nuanced narrative of passion, innovation, and sonic exploration.
Join us on this introspective exploration of sound and emotion as we pay homage to the kaleidoscopic nature of musical expression. The subtle nuances and respectful interpretations offered by the Kaleidos and Quartifact Quartets invite you to witness the enduring dialogue between tradition and innovation—a conversation that transcends time and resonates in the hearts of all who appreciate the language of music.

Kaleidos: María Arrocha Rojas, Oriol Gómez Sierra, Alessandro Alghisi & Tobías van der Wardt (French horn)
Quartifact: Jork Coenen, Oriol Gómez Sierra, Alessandro Alghisi & Tobías van der Wardt (French horn)

Goethe & Verlaine: An afternoon together - An afternoon together - Cançao

R. Schumann - op.51, no 5 - Liebeslied
F. Schubert - D.321 - Kennst du das Land
F. Schubert - D. 877 - Heiss mich nicht reden
H. Wolf - Anakreons Grab
F. Mendelssohn - op.34 no 4 - Suleika
P. Tchaikovsky - Six Romances, Op. 6 no 6 - Nur wer die Sehnsucht kennt
R. Poldowski - L'Heure exquise
R. Hahn - 7 Chansons grises
2. Toux deux
5. L'Heure exquise
R. Hahn - Fêtes galantes
G. Fauré - Cinque Mélodies 'de Venise' op. 58 no 2 - En sourdine

Programme notes
The idea behind our performance is to bring together two of the greatest poets, which share common themes, such as love, longing as well as pain and suffering. We wanted to showcase some composers who translated the poetry's stories into music, allowing the public to be transported into the emotions felt by the poets.

Garcia Cavalete, José (piano) Malena Hoffmann & Luna Gräfin von Hardenberg (voice)

Junior Recital 1 - Keshav Krishnan and Victorine Meurice

W.A. Mozart - Sonata No.2 in F major, K.280 – 1. Allegro assai
R. Schumann Kinderszenen Op.15 
 1. Von fremden Ländern und Menschen
 2. Kuriose Geschichte
 3. Hasche-Mann
 4. Bittendes Kind
 5. Glückes genug
 6. Wichtige Begebenheit

F. Chopin - Valse Op.64 No.1

Keshav Krishnan (piano)

Victorine Meurice (viool) en Carmen Lopez (piano)
F. Mendelshonn - Viool concerto op. 64
 2. Andante - Allegretto non troppo
 3. Allegro molto vivace (234 bars)

Meurice (violin), Carmen Lopez (piano)



Opposite Yet Complementary: Life And Death - Mühlfeld Trio

G. Fauré - Piano Trio Op. 120
  I. Allegro ma non troppo 
  II. Andantino 
  III. Allegro vivo

C. Saint-Saëns - Danse Macabre Op. 40

Programme notes
Our programme emerges from the dualism between Fauré and Saint Säens, mirroring their evolving relationship from pupil and master to close friends. Their interaction includes an opposite yet complementary dialectic, a concept that plays a leading role in the repertoire chosen for this event: on one hand, the Trio Op. 120 by Fauré which is a hymn to life, in its elegance, in its variety, in its subtle but continuous energy; on the other hand, the Danse Macabre by Saint Säens, where death is the main actor around which the story develops. Complementary and opposite at the same time are also the characters of the two pieces: it is death that revels euphorically and wildly, while life is given a more melancholic and complex treatment. 

Based in The Netherlands, Mühlfeld Trio is a group formed by Erika García (clarinet), Giovanni Landini (cello) and Andrea Boga (piano). While following the Master programme at Conservatoirum Maastricht the Trio is giving concerts in The Netherlands, Belgium, Italy and Spain. They have recently won the II Prize at the XX Arnuero International Chamber Music Competition and received the Mengelberg Fund from the Concertgebouworkest to participate in the Masterclass organized by the Festival delle Nazioni in Italy.

Erika García (clarinet) Giovanni Landini (cello) Andrea Boga (piano)

Schubert's "Unfinished"

F. Schubert - Symphony No. 8 in B minor “Unfinished”
  I. Allegro moderato
  II. Andante con moto

Programme notes
Can you imagine listening to Schubert's "Unfinished" 8th Symphony permormed by only 11 musicians?
Lumen Ensemble has taken up this challenge to present it during the Day/Night of Classical Music 2024.Lumen Ensemble is a musical group formed by students from Conservatorium Maastricht who love playing both chamber and symphonic music. This is why we have created a project where we can play arrangements of great symphonic works without the need of gathering a whole orchestra.
We are excited to present ourselves for the first time during the Day/Night of Classical Music 2024 with Schubert's "Unfinished" 8th Symphony. 
Though Schubert has nine symphonies, he decided to first compose Symphony 9 before starting Symphony nº8. 
What he didn't know is that Symphony nº8 would be his last one and would remain unfinished before many who followed him would try to finish it.

Lumen Ensemble: Alejandro Ruiz & Marina Iliadou (violin) Helena Camps (viola) Isabel Olmo (cello) Daniel Correa (doublebass) Natalia Ramos (flute) Álvaro Roman (oboe) Miguel García (bassoon) Erika García (clarinet) Colin Crandal (percussion)