The Pianist Denis Kozhukhin will appear on the game area in the middle of the Pierre Boulez hall, and bows very tight and avoids any sensation of a soloist’s entry, only to fall spontaneously in the aufrausch the end of the cantability of Carl Maria von Weber’s a-flat major Sonata, Opus 39. The Whole is bound melody. The interpreters of the lyrical breath of the music, con molt’affetto sung. The energy of the attack and taking back to the Pianissimo of the kind that clarity about the harmonies hovering. Almost imperceptibly, the player takes the modifications of the tempo, true, self arpeggios and sparkling passages are the image of romantic fantasy.
the Russian musician has sent on what Jörg Widmann emphasized in his plea for the composer in an “introduction with sound examples”. He takes a look behind the apparent harmless nature of Weber’s music, to the depth of track. Such a defense is even necessary, to ask of the master, the speech is, the paints of the cloud-veiled sun in its natural sensations? In order to harmonies, it is not going to continue, “the expected”. This Widmann impresses the audience, as faithful répétiteur at the piano, he has mastered is impressive. And on the basis of the “Freischütz” he makes his love for Weber’s work felt to come in the clarinet quintet, the main work of the Evening sounds.
Widmann speaks as a clarinetist and as a composer
A Lecture-concert, so for Carl Maria von Weber. And Widmann does not play only the clarinet with the intrinsic value of their tone, but speaks also as a composer. In Playing the Weber quintet he does not cease to be a composer, and Vice versa, but to be an interpreter, “when I think of Babylon’-Opera write”. This work, a theatre of the world to the culture on the Euphrates, the 2012 came out with a lot of success at the Bavarian state Opera, will be to consider in a revised version from March 2019 Under the Linden. In Oriental night-a clarinet sends in the Hanging gardens of Babylon, their messages.
More about
“Freischütz” at the Rheinsberg chamber Opera, The devil’s castle always hits
Udo Badelt
For the quintet, in which he shows himself as an Instrumentalist of the first rank, has assured Widmann of supple young Goldmund Quartet. The Cellist Raphael Paratore puts his characters with the delicate tread of the main theme of the Fantasia. The leading wind Instrument, however, comes to the Solo, which is the result of the Munich “clarinet genius” Heinrich Baermann, a close friend of Weber. With a wide Ambitus of the soloist gallops, finally, a fireworks of virtuosity, the remains lead to the creation of the game. Widmann has conquered the musical versatility, the doors open.
