On the evenings of May 2nd and 3rd, 2025, Vienna’s historic Minoritenkirche became the sacred chamber for a remarkable concert that blended elegance, emotional depth, and historic reverence. Under the refined direction of Maestro Martin Sieghart, audiences were treated to an inspired program featuring Mozart’s Sinfonia Concertante per tre strumenti, arranged by Melkus, and Josef Suk’s Serenade for Strings.
A Dialogue of Strings – Mozart/Melkus
The Mozart/Melkus Sinfonia Concertante per tre strumenti served as the centerpiece of the evening. This rarely performed adaptation, born of Leopold and Wolfgang Amadeus Mozart’s collaborative sketch and later completed by Melkus, offered a fascinating interplay between the violin, viola, and cello — each voice distinct, yet seamlessly interwoven.
Mario Hossen led the charge with his trademark fiery virtuosity and emotional depth, his phrasing always poised and resonant. Marta Potulska’s viola brought a warm, grounded quality to the texture, providing both harmonic richness and lyrical introspection. Liliana Kehayova, on cello, completed the trio with commanding presence and a refined touch, her lines singing with both gravitas and grace.
Together, the three soloists engaged in an almost conversational interplay, their musical rapport palpable and precise. Sieghart’s baton ensured the chamber orchestra remained finely balanced, allowing each soloist to shine while maintaining the architecture of Mozart’s melodic lines and counterpoint.
A Lush Romantic Counterpoint – Suk’s Serenade
The second half of the program showcased Josef Suk’s Serenade for Strings, a luminous and youthful work written under the guidance of Dvořák. Sieghart brought out the elegance and fluid lyricism of the Serenade, drawing a warm, glowing sound from the ensemble. The phrasing throughout was supple and expressive, particularly in the second movement (Allegro ma non troppo), where subtle tempo shifts and dynamic contrasts breathed new life into Suk’s melodic ideas.
The finale sparkled with rhythmic vitality and romantic flair, serving as a joyful conclusion to the evening and a testament to Sieghart’s ability to shape narrative through sound.
Setting and Atmosphere
The Minoritenkirche, with its Gothic majesty and resonant acoustics, provided a sublime backdrop for this program. The setting elevated the music to a quasi-sacred experience — arches, shadows, and candlelight lending a timeless air that echoed the dialogue between Classical clarity and Romantic lushness that the program offered.
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Conclusion
The concerts on May 2nd and 3rd were not merely performances, but profound musical conversations — between soloists, conductor, and ensemble; between history and the present; and between the architecture of the Minoritenkirche and the sonic architecture of Mozart and Suk. Martin Sieghart, with his unerring musical intuition, curated and conducted an evening that will resonate in the hearts of all who were fortunate to attend.
A Dialogue of Strings – Mozart/Melkus
The Mozart/Melkus Sinfonia Concertante per tre strumenti served as the centerpiece of the evening. This rarely performed adaptation, born of Leopold and Wolfgang Amadeus Mozart’s collaborative sketch and later completed by Melkus, offered a fascinating interplay between the violin, viola, and cello — each voice distinct, yet seamlessly interwoven.
Mario Hossen led the charge with his trademark fiery virtuosity and emotional depth, his phrasing always poised and resonant. Marta Potulska’s viola brought a warm, grounded quality to the texture, providing both harmonic richness and lyrical introspection. Liliana Kehayova, on cello, completed the trio with commanding presence and a refined touch, her lines singing with both gravitas and grace.
Together, the three soloists engaged in an almost conversational interplay, their musical rapport palpable and precise. Sieghart’s baton ensured the chamber orchestra remained finely balanced, allowing each soloist to shine while maintaining the architecture of Mozart’s melodic lines and counterpoint.
A Lush Romantic Counterpoint – Suk’s Serenade
The second half of the program showcased Josef Suk’s Serenade for Strings, a luminous and youthful work written under the guidance of Dvořák. Sieghart brought out the elegance and fluid lyricism of the Serenade, drawing a warm, glowing sound from the ensemble. The phrasing throughout was supple and expressive, particularly in the second movement (Allegro ma non troppo), where subtle tempo shifts and dynamic contrasts breathed new life into Suk’s melodic ideas.
The finale sparkled with rhythmic vitality and romantic flair, serving as a joyful conclusion to the evening and a testament to Sieghart’s ability to shape narrative through sound.
Setting and Atmosphere
The Minoritenkirche, with its Gothic majesty and resonant acoustics, provided a sublime backdrop for this program. The setting elevated the music to a quasi-sacred experience — arches, shadows, and candlelight lending a timeless air that echoed the dialogue between Classical clarity and Romantic lushness that the program offered.
⸻
Conclusion
The concerts on May 2nd and 3rd were not merely performances, but profound musical conversations — between soloists, conductor, and ensemble; between history and the present; and between the architecture of the Minoritenkirche and the sonic architecture of Mozart and Suk. Martin Sieghart, with his unerring musical intuition, curated and conducted an evening that will resonate in the hearts of all who were fortunate to attend.
Concert Review: Minoritenkirche, Vienna – 2 & 3 May 2025
Under the Baton of Maestro Martin Sieghart
Mozart/Melkus – Sinfonia Concertante per tre strumenti
Soloists: Mario Hossen (violin), Marta Potulska (viola), Liliana Kehayova (cello)
Also featuring: Josef Suk – Serenade for Strings in E-flat major, Op. 6
Under the Baton of Maestro Martin Sieghart
Mozart/Melkus – Sinfonia Concertante per tre strumenti
Soloists: Mario Hossen (violin), Marta Potulska (viola), Liliana Kehayova (cello)
Also featuring: Josef Suk – Serenade for Strings in E-flat major, Op. 6
