2024-08-04 12:51:04
In the Mozarteum you can hear the unexpected music of Schoenberg by Gustav Mahler, Johann Strauss and Maurice Ravel.
This review must begin with a confession. Is it wet weather, overexertion or just plain stupidity? Reporters think he was convinced his concert would start at 7:30pm on Saturday. He arrived shortly after seven o’clock to find everything empty, no one was there, and things had begun at seven o’clock sharp. However, a few busy phone calls from friendly admissions staff resulted in admission being denied because “it’s too quiet here for late arrivals.” what to do? The unsatisfactory solution: you can stand behind a door near the stage where the music can easily leak. Until the break.
So now the backdoor view must be chosen. Gustav Mahler’s “Farewell” is heard, and the final movement of his “European Song” was arranged by Arnold Schoenberg for the Salon Ensemble, and the full version by Rainer Lean is heard here ( Schoenberg wanted to arrange a private musical performance of the entire work for his association, but it was not completed). The Vienna Philharmonic was at its peak with a brass and string quintet line-up, as well as piano, percussion, organ and celesta – powerful, earthy and sometimes rough. Tanja Ariane Baumgartner first delivered a thrilling burst of alto before slowly fading into an almost permanent disappearance. Maxime Pascal’s conducting was tense but undisciplined, allowing individual sonic images to bloom, shine, quickly disappear, and then come back to life. This can also be experienced through the door, with endings of trembling, consumption, and dissolution. wonderful!
Then we finally entered the lobby. You hear Schoenberg without Schoenberg again! All that is (un)serious is his arrangement of Johann Strauss’s “Kaiserwalzer,” here transformed into a tap-dancing instrumental septet, with brilliant interventions, rough handling, brief citations and references to Schubert and even Joseph Haydn. It’s virtuosic dance music, sometimes borderline, and here it’s given gorgeous life.
Possibly the craziest piece ended the night: Maurice Ravel’s “La Valse” for two pianos. Ravel himself played the piece with a colleague in 1920, and the abysmal “arrangement” one would expect from an overwhelmingly rich orchestral section here becomes a game, sometimes Swinging happily, then confronting each other and reflecting each other. Nenad Lečić and Tamara Stefanovich are playing against each other!
Director Markus Hinterhäuser and concert director Florian Wiegand opened one of the most unusual concert programs of “The Witches’ Kitchen” to great applause from the audience.
Worth highlighting is the Schoenberg series of excellent program booklets, which are meaningfully and emotively expanded with clever essays and notes on the works, accompanied by postcard illustrations, working sketches, paintings and photographs – a collection in effect Home items. What you hear, on the other hand, goes into an internal archive of lasting impressions!
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#Spending #Time #Schoenberg #Bringing #music #life #gorgeous
