On the small surface area in the Pierre Boulez hall in an Aura of sensitive youthfulness, close-up of the audience exposed to surrounds him, fragile and almost frail appearance. In full Jean-Guihen Queyras brings a mammoth performance, which is likely to require a steel-hard physique.
“Six Suites, Six Echoes” is the name of the French Cellist of his project, for it represents the six suites of Johann Sebastian Bach’s six contemporary commissioned works. Here, Queyras plays the suites, compendium of the cello art of the 17th century. Century and even today, technical intricacy and deep meaning of the touchstone for every cellist, in the original order, is told as a story in sound set life stations. The fall in turn into new, dazzling lighting by the leading modern compositions, echoes that give it a taste.
From the playful, experimental spirit
Ivan Fedeles “Arc-en-ciel” inspired so fed up with groping ange agreed with, increasingly accelerated flageolet-tones in the Suite No. 1 in G major, which appears now, with their heaving, three sounds emanating melodies, from the same playful experimental spirit. Jonathan Harvey strikes sharper, gestischere tones, anticipating the contrast of the richness of the brooding d-minor Suite with dramatic jagged downward figures. The marble downward runs, with which György intends Kurtág of the great cellist, Miklós Perényi, it could directly originate from the downward figures of the C major Suite, would not be so much more powerful and optimistic. Shadowy Swan song speaks from the expressive Taciturnity of the great Hungary. Gilbert Amy, Misato Mochizuki, Ichiro Nodaida with contrast primed Pizzicato-chains, by the Register, sighing sixths and force fully accentuated motor skills to the suites in e-flat major, c minor and D major.
Which gives Queyras, as in the preceding Bach-works – in virtuous a matter of course nuances to speak of wealth, Gavots and Bouréen wonderful swing, a celebration of the Sara gangs in lonely isolation.
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“are in the Middle we Dance in the life” at the HAU to Bach
Sandra Luzina
The grim in a dark c minor, motionless Suite No. 5 follows with the bright double handle singing of the final D major work is a “Declaration of love to the whole world” (Queyras). After that, the enthusiastic crowd doesn’t want to let the happy radiant artist from the stage.
