A strange atmosphere – something between dream and Trauma, half fairy tale, half-depressing – is this the year the Salzburg festival. The city is quieter than usual at this time. The many guests from Japan and America lack. In the program compiled by Markus hinterhäuser in a few weeks as an Alternative to the original plans, is also in the implementation by the artist in a soothing concentration, a loving Property, plant and cherishing to feel. But what you experienced then, has banned all aerosol warnings and Contact the last few weeks, something unreal in itself.
Jan Brachmann
editor in the features section.
F. A. Z.
There are nine people actually singing from the Ensemble Cantando Admont – under Cordula Bürgis leadership in the quorums of the Church; as the Vienna Philharmonic orchestra, Andris Nelsons conducts the play, in the Big Festspielhaus in strength of a hundred Gustav Mahler’s sixth Symphony. A quarter of a year ago, the epidemiologist and the social physician Stefan said Willich of the Charité hospital in Berlin this newspaper: “We need to find it normal to operate in concert for some time – we’re talking a minimum of many months – in the case of orchestras on the stage, not as a hundred people, but maybe only 65 looks. We do well with these changes and say: Such is life now for a while.“
A mass for five voices
In Salzburg is the life, at least on the podium, so that there is no pandemic. All the contributors are subject to a strict safety regime, you need to contact the books are classified according to risk groups and are tested – as the singers and orchestral musicians regularly to infection. The audience, which can be mocked at the opening premiere of Richard Strauss’ Opera “Elektra” with the attitude of “Us anyway, none of what is” of concern, mockery, now even in the public space outside the game places conscientiously in the distance of the commandments and mask compulsory.
“Fragmente – Stille” means, in reference to the by Friedrich Hölderlin-inspired string Quartet by Luigi Nono, a whole series of concerts in the Kollegienkirche, which refers to Old and New music together. In concert Cantando Admont, a mass for five voices by the Palestrina hits-Francesco Rovigo enjoyed from the late sixteenth century Choral compositions by Beat Furrer and Nono, the music of the years 1998 and 1961. It’s chants are drilling Inständigkeit, often silver bright überglänzt from the Timbre of the counter-tenor Terry Wey.
– Economic use of the body
When you hear Rovigo return binds to the polyphony of the late Renaissance, back to the Gregorian chant, use of internal cadences to divide the flow of the music to grammatically offered to leave so the meaning of the language of light, then the art pieces appear even more than studies of the Resignation. Beat Furrer hacked to syllables in his Psalm “Gloria Tibi Domine” language and towards the end of Christian Loidls poem “how slow” talk: expiry idyll poetry with a passion for urbanity escape in the preference for porch wooden, crows loudly, and Leaves. Nono’s setting of Cesare Paveses poem “Sarà dolce tacere” spreads the sound extremely and announces the old Covenant, as to the analogy between music and language, in image, gesture and breath. As in Hölderlin’s “Mnemosyne” seems to be here it’s all interpretation to be loose characters. Only the heirs of the language in Silence is staged as a Moment of traditional Sweet.
for A century, sings the music, even where it understands itself as modern, their big “Adieus”. Gustav Mahler’s sixth Symphony is one of them. Thomas Sanderling, the presented years ago, an excellent recording of the work with the St. Petersburg Philharmonic orchestra, recently told of his impression of Mahler have anticipated the outbreak of the First world war by ten years, at least, an epoch, fractional, would be in accordance with the life differently.
