2024-08-25 16:31:00
Ingo Metzmacher and the Gustav Mahler Youth Orchestra perform sonic magic from Wagner to Nono.
Now the Salzburg Festival’s lavish and, in the most positive sense, extensive series “Times with Schoenberg” has come to an end. The work of Arnold Schoenberg, who is commemorating his 150th birthday, has been with us for almost the entire holiday. It’s a celebration! Ingo Metzmacher placed five orchestral works by Schoenberg (written in 1909) at the center of his first triptych. Sometimes there is an angry and expressive timbre (Number 1), sometimes a mercury gurgling sound (Number 2), sometimes an orchestral writing dominated by subconscious tension (Number 3). After that, it became quite up-tempo, not quite like a dance, and we were constantly moving in the atonal range! Everything was done beautifully and neatly. The Schoenberg Festival in Salzburg has come to a successful conclusion!
Unfortunately, there was Beethoven before and after. First there’s the much-loved Coriolan Overture, and Metzmacher’s somewhat brash but above all noisy interpretation, as ambivalent as the title hero (who hails from ancient Rome). After Schoenberg, the third and more popular “Leonore Overture” followed, a popular encore song that really got everyone excited. This way it’s not played in such a trivial and general way. Just listen to the work Franz Welser-Möst once created in Salzburg – an instrumental mini-opera online!
That evening was followed by a second triptych (the idea of making three pieces into two, with the parts flowing into each other without interruption was amazing), featuring the Prelude and the Crucifixion from Wagner’s Parsifal Sun magic as brackets. There you can hear the talent of the orchestra and conductor.
A quick, transparent opening, rich in color, outlining the apotheosis of man and nature at Easter! Between the two, Luigi Nono’s work on the architect Carlo Scarpa is an absolute rarity. The late works are rich in complex tones and extend into the sixteenth tone range. Compared to Nono’s larger works, it’s like a mini-cathedral with a blur of shape and sound, with miniature beams and filigree pillars holding the unique structure together. Metzmacher was definitely the right reconstructor in this regard, and musicians followed him willingly. An experience! And then there’s the deal with Beethoven, who has nothing to do with it.
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