The program forms a triptych of late German Romanticism centered on the cello and Robert Hausmann, dedicatee or catalyst of the three works. In Heinrich von Herzogenberg’s Cello Sonata No. 3 op. 94, the classical legacy lives on in a measured dialogue of proportions, counterpoint, and song. With Brahms’s Cello Sonata No. 2 op. 99, chamber form takes on an almost symphonic breadth: interval and rhythm generate an architecture in which ardor and melancholy intertwine. Max Bruch’s Kol Nidrei op. 47 finally leads song toward Jewish liturgical memory, transforming the cello into a voice of prayer between supplication and consolation. Hausmann unites these paths into a single musical civilization, where friendship, devotion, and formal thought lend sound a moral gravity and lasting resonance.