[{"data":1,"prerenderedAt":110},["ShallowReactive",2],{"program-item-de-eine-blume-fuer-tabea":3},{"entry":4},{"id":5,"title":6,"slug":7,"uri":8,"eventDate":9,"eventType":10,"venue":11,"duration":22,"prices":23,"teaser":24,"richtextProgram":26,"programText":18,"ticketLink":18,"eventImage":28,"musicians":42,"globalComponents":104,"metaTitle":18,"metaDescription":18,"ogImage":105,"metaTags":18,"localized":106},"1161","Eine Blume für Tabea","eine-blume-fuer-tabea","programm\u002Feine-blume-fuer-tabea","2027-01-30T18:30:00+00:00","Konzert V",[12],{"id":13,"title":14,"mapsLink":15,"street":19,"postalCode":20,"city":21},"830","Stadtcasino Basel – Hans Huber-Saal",{"type":16,"url":17,"label":18,"target":18},"url","https:\u002F\u002Fwww.google.com\u002Fmaps\u002Fsearch\u002F?api=1&query=Stadtcasino+Basel%2C+Steinenberg+14%2C+4051+Basel",null,"Steinenberg 14","4051","Basel","120 Minuten (inklusive Pause)","CHF 60 |  45",{"html":25},"\u003Cp>Die Bratschistin Tabea Zimmermann hat massgeblich zum Entstehen neuer Kompositionen für ihr Instrument beigetragen, so etwa durch die Zusammenarbeit mit György Kurtág, der eines seiner Werke mit «… eine Blume für Tabea …» betitelte. Lange vor ihm hat der Brahms-Freund Joseph Joachim \u003Ci>Hebräische\u003C\u002Fi> \u003Ci>Melodien\u003C\u002Fi> für Viola und Klavier gesetzt, und im frühen 20. Jahrhundert kombinierte Frank Bridge gar zwei Bratschen zu seiner Komposition \u003Ci>Lament\u003C\u002Fi>. Ebenfalls zwei Bratschen bilden die Mittelstimmen im Quintett in B-Dur von Felix Mendelssohn Bartholdy. Mit \u003Cstrong>Tabea Zimmermann\u003C\u002Fstrong> (Viola), \u003Cstrong>Guy Ben-Ziony\u003C\u002Fstrong> (Viola), \u003Cstrong>Benedek Horváth\u003C\u002Fstrong> (Klavier) und dem \u003Cstrong>Gringolts Quartet\u003C\u002Fstrong>.\u003C\u002Fp>",{"html":27},"\u003Cp>\u003Cstrong>Joseph Joachim\u003C\u002Fstrong>\u003Cspan> (1831–1907)\u003C\u002Fspan>\u003Cbr \u002F>\u003Ci>Hebräische Melodien nach Eindrücken der Byron‘schen Gesänge\u003C\u002Fi>\u003Cspan> op. 9 für Viola und Klavier (1855)\u003C\u002Fspan>\u003Cbr \u002F>\u003Cbr \u002F>\u003Cstrong>György Kurtág\u003C\u002Fstrong>\u003Cspan> (geb. 1926) \u003C\u002Fspan>\u003Cbr \u002F>\u003Cspan>Aus \u003C\u002Fspan>\u003Ci>Games, Signs & Messages\u003C\u002Fi>\u003Cspan> für Viola solo\u003C\u002Fspan>\u003Cbr \u002F>\u003Cspan>«In nomine – all ongharese»\u003C\u002Fspan>\u003Cbr \u002F>\u003Cspan>«… eine Blume für Tabea …»\u003C\u002Fspan>\u003Cbr \u002F>\u003Cspan>«Kromatikus feleselös»\u003C\u002Fspan>\u003Cbr \u002F>\u003Cbr \u002F>\u003Cstrong>Frank Bridge\u003C\u002Fstrong>\u003Cspan> (1879–1941) \u003C\u002Fspan>\u003Cbr \u002F>\u003Ci>Lament\u003C\u002Fi>\u003Cspan> für zwei Violas (1911)\u003C\u002Fspan>\u003Cbr \u002F>\u003Cbr \u002F>\u003Cstrong>Menachem Wiesenberg\u003C\u002Fstrong>\u003Cspan> (geb. 1950) \u003C\u002Fspan>\u003Cbr \u002F>\u003Ci>Monodialogue\u003C\u002Fi>\u003Cspan>. 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