lights out, Spot on, and immediately, the atmosphere turns Intimate, a kind of cocoon. The music stands are arranged in a circle. Violinist Michael Barenboim than one after the other – not for the first Time, including Luciano Berio’s “Sequenza VIII” for Solo violin by his mother, Elena Bashkirova organized the Jerusalem chamber music festival, he has interpreted. But now we are in Berlin, in the Pierre Boulez hall. And that is the opening piece of the Evening by a different composer than the namesake itself comes, it is hard to imagine. The hall is of course celebrated is always the case with this concert, to 90. Birthday of Frank Gehry, two slightly shifted ellipses on top of each other, and thus this wonderful hall. The origin of the sketch you could see in the Gehry-Scharoun-exhibition by the Foundation Brandenburger Tor, Gehry himself has visited them on Wednesday.
“Anthèmes II”, by Pierre Boulez, in 1997, written and, as his manner was, 2008 revised: liquid art, the work as a never-ending process. Michael Barenboim is, as always, completely naturally and calmly, as if not 600 people were sitting in the hall. He formed Boulez’ figurations with different degrees of hardness of its stroke to the sound of events, all the techniques of the sovereign, Walgesangs Glissando as robust Pizzicato. The electronics (Gilbert Nouno) catches what comes of pulses from the Geiger, spins it, throws it, combined with his own Material. A Transgression: the limits of The violin, the acoustic space widens and the room itself becomes the Instrument. An iridescent, heartbeat-like Tremor with the third Finger on the String, barely noticeable – and the music verdämmert in Nothing.
Miraculous Tonverwischungen
The ear is now conditioned so that it can be trusted without effort, as well as Robert Schumann’s “Andante and variations in B-flat major” sound on the boundaries. Because the 1843 as a latecomer to the “chamber music year” of 1842, the resulting piece on a cast, which would be called by the contemporaries “eigenthümlich” and today pianos are still unusual: Two, two Cellos, a Horn. Three of the instruments that produce the sound to a totally different way. Schumann himself has created an easier-to-implement version for two pianos – but it’s a long time not to the Aura of the quintet version, the miraculous, part Ghost tale Tonverwischungen. Martha Argerich and Daniel Barenboim – it is the second joint appearance of the two in this week after the Symphony concert of the Staatskapelle on Monday – set the tone of the Steinway pianos; cello by Astrig and Alexander Kovalev and full of rich horn sound of Ben Goldscheider, a haunting piece of chamber music. Almost symphonic dimensions of the evening with Boulez’ “Sur Incises” for Three pianos, three harps, and three percussion: nine musicians by Daniel Barenboim on the rostrum held together exquisitely coordinated with each other, creating a percussive dream landscape of elementary particles. From the archaic violence-hammered piano Denis Kozhukhin protrudes.
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That Barenboim – of all the debates of its Person works in Spite of easy, tireless – “Sur Incises” in a short speech, as the “Sacre du Printemps” for the 21st century. Century referred to, may be exaggerated. He emphasized the very special feeling in the Boulez hall. “Here there is no separation,” he says, “the musicians, the room, the audience become one. This is my Definition of music.“ Flowers and a standing ovation for the honoree, the room also has to mean a lot, when he celebrates here, and not in his home city of Los Angeles, where he built the Walt Disney Concert Hall. It is something in the air that night, a presence, a uniqueness born out of the Knowledge that you will not experience these personalities in this constellation so quickly.
