Ludwig van Beethoven’s song cycle, “beloved In the distance”, followed by the third string Quartet by Robert Schumann, the art Nouveau-style detention voluptuous piano Sonata by Alban Berg, flanked by two of his songs, and finally, a love song of Erich Korngold: The Davos Festival, you will like it as varied as it once was to the creation time of the works the case. And since the concert’s motto “love sense” was, were recited between the pieces of love letters from the composer.
With this program design, you wonder why something like this is only in the peripheral summer festivals such as the Davos possible, and not even where the urban classical music audience routine runs, namely in the urban concert halls. The answer is simple: economic constraints and ingrained habits.
the way of musical brands-Shopping
Just for artists, which will be traded as brand products would be mixed occupations for the local organizer is priceless. The monochrome performances got the audience learns so that nothing from the charm of the mixing programs, it knows what shapes him to desire the full knowledge of the diversity of the different expression of the hidden spiritual escapes cross-connections between works, genres and traditions. With alternating casts, as in the case of smaller summer festivals is common, is now also experimenting in Salzburg. Perhaps this encouraged the organizers in the cities, to take New. At-the-money it should not be, because under the high-price segment, there are plenty of excellent musicians that would win it.
The Davos Festival is far from an easy game, as it can draw on a Pool of young, highly motivated musician – this time, about eighty from all over the world. Most of them are born in the nineties, have your high school diploma before or just behind, and make music on a professional level. Under the title of “Young Artists in Concert” had Michael Haefliger, today artistic Director of the Lucerne festival established the high-Alpine music meeting 1986, and peers are invited. The concept is more viable; the current Manager Marco Amherd, a trained Church musician with a penchant for unusual ideas – as the festival’s motto, he chose this time “Of the senses” – understand it, to encourage the exchange of Ad-hoc formations occurring in Junior high performance. Longer-term additional activities that give the Festival’s institutional stability. Of the twelve members of the festival choir and the Festival Camerata, a Leo McFall-led string orchestra, for an extension of the chamber musical Radius, and under the name of “Very Young Artists” has established a summer Academy, where, under the guidance of a designated professional musicians of all youngest offspring is used.
In the appearance of the young musicians likeable modesty, paired with contagious enthusiasm. Vain Boast does not apply here. Not the Jack of all trades Henrique dos Santos Costa, stunned the audience with a transcription of the cello Suite in G major by Johann Sebastian Bach for the Tuba, which identifies him as Paganini on his Instrument, the intricate composition, but gets less and less, especially in the Überakustik of the Davos Kirchner Museum. A with as well a lot and joke-blown solo piece for Horn by Heinz Holliger fit better in the room, the violin works of Bernd Alois Zimmermann, Georg Philipp Telemann and Helena Winkelman. The last three pieces, their selection was probably based on the criterion of the Endreims the composer’s name, went together surprisingly well. A diced Six in the program design.
in addition to the surprising plant combinations, it is the performers that make Davos distinctive. Two examples of musicians on the threshold of their career: the baritone Serafin Heusser, brought in Beethoven’s song cycle, intimacy and Exuberance with the same care and intensity to the action, and the clarinetist Joel Christophe, winner of the ARD competition in Munich, 2019, the gave a solo piece of the invited composer Gerald Resch plastic contours, and also as a chamber musician shone. Also invited were some young Ensembles. The percussion trio Colores with Marimba, vibraphone and Glockenspiel ventured – concert motto, “in French meaning” – with my own edits to Ravel’s “Tombeau de Couperin” and the “Danse macabre” by Saint-Saëns. With considerable perception of aesthetic value: The light, floating sound and the agogische elegance of the game free to the works of unfamiliar poetic and fantastic qualities. With a premiere of his member, Joan Jordi Oliver Sibja saxophone Quartet waited. From the air-Tongemisch of all four players in a Symphony of overtones, which creates a magical experience of space, developed by electronic filtering and feedback. The scene of a small Church in a remote mountain village, the destination point of a musical hike.
