Incredibly virtuoso: Stefan Dohr
Photo: © Simon Pauly
Fortissimo sounds in D major let the start of Schubert’s 10. Symphony shine, a dotted figure that a little later the clarinets and subsequently the other woodwind instruments around the dominant circle. Later the exposure ends in some A major cadenzas, we hear a typically longing Schubert melody as in the “unfinished”, the pace is no longer an majestic Allegro, but an Andante Cantabile. We experience a solemn trombone chorale, but suddenly, initiated by the “heavenly” Celesta, murmuring sound traces, sounds floating into nothing.
Franz Schubert worked on a large D major symphony in his last weeks of life on sketches. In the piano set left, there is only sparse information on instrumentation, significantly more melodic and harmonious building blocks, but again and again: gaps. Gaps that only give an idea of the larger formal relationships of this symphony. And the Italian composer Luciano Berio, who would have turned 100 this year, filled these gaps with a kind of cement as a “lontano” (removed) and “non cantare” (that is, expressly not sung), reserved sound area.
Berio, with his 1989 (the first two sentences) by Nikolaus Harnoncourt and 1990 (final version with the 3rd set) by Riccardo Chailly, created a kind of recomposition with the Royal Concertgebouw Orchestra “Rendering” by carefully instrumenting Schubert’s sketches, but above all missing parts with contemporary dream sequences Filling: “This restoration follows the guidelines of a modern fresco restaurant that aims at refreshing the old colors without wanting to hide the damage caused by the centuries, whereby even empty spots can remain in the overall picture (such as in the case of GIOTI in Assisi),” said the composer in the work comment.
These “filling pieces” are introduced by the bell sound of the Celesta. In the 2nd set of lyrical reminiscences of Schubert’s “winter trip” on sounds that predict on Mendelssohn or in Mahler’s “children’s death songs” 76 years later, and on counterpoint exercise sketches that Schubert made in the last year of life. Berio uses this canon in a counter-movement for a dream-lost oboen melody, which can be connected to the bassoon and then lets all wind players merging. Later a haunted FIS major melody sounds.
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In the 3rd sentence, Berio (or Schubert? Or both?) Leaves the solo cellist with a dance melody from the leash, which is taken up by other groups of instruments. A kind of “Hungarian Touch”, it could be a peasant dance that Schubert (or Berio) experienced and noted on a rural dance floor. Another opponent-primed rondo topic, a brilliant fugato, huge Schubert chords, which Berio always freezes and thus suddenly interrupts the explosive joy of breakout. The Schubertest material is probably the polyphonst orchestral set that he has ever composed – and meets Berios loving additions, along the theory formulated in his lectures “Remembering the future” that the musical treasure of mankind is now as tangible today, in which works could be right together and fertilize each other.
With Berios “Rendering”, presented by the premiere orchestra, the Concertgebouw Amsterdam under Klaus Mäkelä, the music festival Berlin succeeded in an overwhelming opening. But in the same way, Béla Bartók’s “concert for orchestras”, which followed, shone in a unique way. In particular, the listeners will not quickly forget the 3rd set of Bartók’s work with the dark transylvanic claims. Here the composer succeeded in a dramatic-desperate reflection of the depressing time of origin in 1943, when Bartók and his wife had long since fled Hitler and the oppressive political climate in Hungary to New York, where he had a serious illness from the distance.
Mäkelä does not give us a break from a reflection after the elegy, he directly connects the wild intermezzo with Slovak and Hungarian folk music – Alternative “continue”, as is on the tombstone Herbert Marcuses. But this Bartók’s further continued with despair: Quotes from Schostakovich’s »Leningrad« symphony and from the operetta »The funny widow« by Lehár, one of Hitler’s favorite works that Bartók immediately leads through Groteske Hornfanfaren and Wild Orchestra sounds ad absurdum: »All of this is not over.
The listeners were inevitably in love with the Concertgebouw with its outstanding brass, its fabulous strings and the iridescent color frenzy. Standing ovation, natural mages.
The artistic director of the Musikfest Winrich Hopp has always attached importance to special programs; The modern and contemporary, unlike in many subscription series, are an indispensable component. This year the anniversaries of Luciano Berio, Pierre Boulez or Helmut Lachenmann are celebrated with an exciting selection of work.
The famous Orchestre de Paris, headed by ESA-Pekka Salonen, also brought a piece of Berios: “Requies” (1983/84) is an oppressive mourning singing on the vocalist Cathy Berberian, with whom the composer was married and who surprisingly died on March 7, 1983, one day before she wanted to sing the “International” on the 100th anniversary of the death of Karl Marx, but Style of Marylin Monroe «.
“Requies” (Latin rest, rest) is composed around the basic tone CIS. The orchestra describes a melody rather than playing it, said Berio, “but only like a shadow can describe an object and an echo a sound”. And so the piece is a reserved shimmering echo, which discharges in a fortissimo rush shortly before the end, but then returns to the CIS at the beginning, flattered from a delicate flute melody.
To a climax not only this concert, the subsequent German premiere of Esa-Pecka Salonen’s “Concert for Horn and Orchestra”, only lifted out of baptism two days earlier at the Lucerne Festival. This concert is Stefan Dohr, the celebrated solo hornist of the Berlin Philharmonic, almost written on the body. We know from Robert Schumann that “the sound of the horn is the soul of the orchestra”. However, far too rarely, the soul can emerge from the orchestra and act solely. Salonen’s work gives the instrument the opportunity to vehemently change this.
A motif that is first played by the natural horn, i.e. without using the valves, to a harmony from synthetic overtones, runs through the whole piece. We hear horn monologues, places in which the soloist plays and sings at the same time, i.e., so to speak, becomes multi-part with himself, as the trombonist Albert Mangelsdorff drove with his “Multiphonics”-a technique that was developed by the hornists of the 19th century.
Salonen’s composition oscillates in the Adagio between calm and excited phases and sometimes uses quotes, for example from Bruckner’s 4. Symphony or the “mystical chord” from Skrjabins “Prométhée”. Musically, this is reminiscent of the dazzling film music, which Egisto Macchi wrote, for example, in the 1970s (»Gangsters ’70«). Stefan Dohr can exhaust his incredible virtuosity to the limits of the physical possibilities, whereby this is always in the service of the exciting composition. Great!
On the occasion, Salons should also be pointed out to the conductor and composer. He is not a pulse star in the real sense, has nothing demonic on himself and does not dance wildly on the podium. But he is an enormously precise conductor who gets out of the orchestra everything it has to offer. It belongs to the category of excellent but modest musicians who are fully serving the music. A quality that you cannot appreciate enough in times of cultural industry running on many levels.
The evening before, the Netherlands Radio Philharmonic Orchestra under the direction of Karina Canellakis after a somewhat brittle interpretation of Messiaens “Les Offrandes Oubliées” “The sun of water”, “Le Soleil des Eaux”, performed by Pierre Boulez with two poems by René Char. The immensely difficult solo part was with the soprano Liv Redpath.
The play tells of the struggle of the fishermen in Vaucluse in southern French in Kaleidoscope -like against the contamination of the river Sorue through the wastewater of a planned plaster factory. Liv Redpath lets the lines, which are unaccompanied, shine and ray fascinatingly through the Philharmonie. »The river, earth is a shudder in you, sun gravity. / That every arms made the bread out of your harvest during his night. “
Alternating between the solo voice and the choir (impressive of the Netherlands Radio Choir) as well as the orchestra, which takes the lead in the second vocals, the music is “even on the image of the river to which the choir is directed,” as Martin Wilkening writes in the excellent program.
“River, which the dungeon-crazy world could never break the heart, / wildly let us stay and friendly to the bees of the horizons.” So ended in 1948 by René Char and 23-year-old Pierre Boulez and in 1965 in the version to be heard at the music festival, which was premiered in October 60 years ago by the Berlin Philharmonic in October, impressive plea for nature and against Environmental degradation. What a nice motto for the music festival Berlin 2025!
The concerts discussed can be called up in the Berlin Festival media library. The concert of the Netherland Radio Philharmonic Orchestra will be broadcast on March 14, 8 p.m.
The music festival takes place until September 23.
www.berlinerfestspiele.de
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