For the approximately ninety music festivals in Bavaria yesterday was a day of disappointment. Because the long-announced measures easing the Corona restrictions that the Prime Minister Markus Söder in Munich in front of microphones, he said, do not change for the Festivals much: events with more than a hundred people (previously fifty) in enclosed spaces will remain prohibited, and even these have to consistently wear a mask. Why, you may ask, is it allowed, in all Seriousness, that people without a mask, eat in Restaurants and drink, while watching the concert, where all in one direction, and silence, a mask to wear? Why are they allowed in a room, in the daytime, one hundred and four high school graduates their audit examination letter, in the evening, only a hundred guests, listen to music together? A claim to equal treatment of the music festivals with the catering and the school system would have any prospect of success, but who should you submit? Seventy of the ninety-Festivals are co-financed by the free state of Bavaria. Should you sue your own donor?
Jan Brachmann
editor in the features section.
F. A. Z.
Evelyn Meining, the artistic Director of the Mozart festival in Würzburg, not complains. It is easy to. Together with the local music club “The blue Eumel – Mobile art e. V.” brings you the music and musicians on an old blue Truck (the blue Eumel) with a concert Grand piano to the people in the city. It has also been the courtyard and balcony concerts, in which people listened to, never were guests of the for 99 years, existing Festivals. “Which brings us a back, an anchor in the city society, we have not had the Form yet at all,” says Meining. “People thought,’ I know too little about this music, or I don’t have the right dress in the closet to come in the Imperial hall of the Residenz, are now affected.” The Bavarian radio broadcasted a live stream of the “Long night” in the past week, reached up to 104,000 viewers on the Internet, a multiple of what it would achieve for a complete festival season without the revenue.
The pandemic has broken the economic model, and over the years prepared the festival program. Under the Motto of “resistance, Grow more” would want to pay to go to Ludwig van Beethoven reference to Mozart and both time enjoyed. Especially sad radio orchestra, it is the ums concert of the Munich under the direction of Reinhard Goebel, the on 21. June, the triple Concerto of Beethoven wanted to combine with that of the great Mozart-model, Johann Christian Bach and the Beethoven-time Jan Václav Vo?i?ek enjoyed. It could have provided in this anniversary year, a contextualization of his oeuvre, as Goebel dares you through his CD series, “Beethoven’s World” (Sony Classical) currently. For one thing, you have to make clear: over the decades, style-defining composer at the beginning of the nineteenth century, particularly in the genre of the concert, was Wolfgang Amadé been Mozart. Beethoven was the exception, which was later explained to the rule. However, composers such as Johann Nepomuk Hummel, Louis Spohr, John Field joined after 1800 in the first sentence of technique, form, ornamentation, melody, the harmony, more Mozart, even if you are Beethoven, often frightened, exactly were.
concerts can be held at the Mozart-fest so far, only without an audience and in the Internet broadcast. But for the traditional Mozart lab in the exzerzitien house gates of heaven, the city of Würzburg granted a derogation: It counted not as a concert but as an educational event. And it has been for years: students, artists, scientists, politicians, managers and journalists come together here to discuss about music, their exercise, their protection, their social embedding. Here has formed in the last few years, a centre of excellence out; here is a refreshing atmosphere in the protected space where you can talk to each other and not on top of each other.
The pianist Ragna Schirmer, politically one of the wisest, most prudent and most energetic artists of our country, under the three students knew each other before and after only two days, Beethoven’s c minor piano trio op addressed this Time. 1 No. 3 the performance of brought. The violinist Henrike summer, had to drop a day later, an oral baccalaureate exam in geography, and the fifteen-year-old, extremely thoughtful Cellist Heinrich Eiglsperger grew with each day audible in your courage to Expo to take a playful position and to fill the Form with passion. The fourteen-year-old Pianist Max Grimm hall astonished care for his communicative, his mindfulness and Leadership, which he knew to bring the piano and strings sound in Balance.
Reinhard Goebel was rehearsing with the Leonkoro Quartet, Beethoven’s string Quartet op. 59 no. 3, tried to make the young players of the musical Form as architecture, an Enfilade, one room escape, understand, when you feel every threshold, every possible change of direction of motion stage, the contrast of the interior experience should make. And this requires that the players must be informed about their Position in the Form of in each case precisely.
