From people you like to be invited for a birthday, always a pleasure. to be allowed to be when seventy-fifth of Martha Argerich, one also is a privilege. The Argentine is not only revered as the most important pianist of the present, but also as a genuine live artist who not only hear, but also want to see if it plays. Because they immediately flooded every concert hall with its energy, the audience is intriguing because of their intense interpretations. And because it is a unique phenomenon that long does not look like Grande Dame, but still looks youthful curiosity, regardless of their hoary hair.
On Sunday so Martha Argerich has invited to celebrate, among friends, in the Philharmonic, which of course is out of stock. You, the birthday girl, wants to make this afternoon a gift from the Berlin State Opera. Because Argerich’s performance is a benefit concert for the renovation of the building, which is now so long stretches that it has led to real bitterness at all, which Klassik is rather indifferent in the face of steadily percolating in the Prussian sand tax dollars.
but those who were able to wade through the paralyzed from a bicycle rally city on Sunday for Culture Forum, Martha Argerich are grateful for their support. Sturmböig already surges of applause greeting on, crackling as the rain that just down walking outdoors, it will sound again after each piece.
After “Happy Birthday” Beethoven the word
Initially Mozart Sonata is alights since childhood for two pianos, for which State opera Maestro Daniel Barenboim at the side of his compatriot and friend. Best harmony prevails between the two in the mercurial-vital outer movements as well as the idyllic Andante, the them is the wordless vocal duet. Here he uses more on effects, sometimes with audible stomping while functioning a touch sensitive, differentiated in dynamics
Then Barenboim changes on the conductor’s podium -. And agrees with the Staatskapelle surprisingly an instrumental “Happy Birthday” to, in which the short verdatterte pianist soon coincides with both hands. This in turn encourages the audience to renewed cheers and standing ovations. But then Ludwig van Beethoven has the floor. The first two piano concertos donated Martha Argerich favor of Lindenoper and seems thus to a solo marathon program is otherwise known only from herculean assessed landlord. Powerful is Argerich’s attack, but never inappropriate metallic. As so often with their interpretations arises a feeling of it-can-do-not-otherness. En passant it also makes clear why the French, whose revolutionary urge for freedom Beethoven felt very connected in the 1790s, “siècle des lumières” call the Age of Enlightenment: century of light. In the brightest, clearest clarity shine under her fingers the beauty as well as the structure of the music.
All participants play music in the same breath
The Staatskapelle’s her doing an equal partner. Surprisingly tender is Daniel Barenboim at the first movement of the C major Concerto, like a dawn that therefore, the friendly sunny day is very organic and con brio, with momentum. The highlight of this eventful concert is the slow movement of the B flat work. Here, the time may condense, in a moment of maximum intensity come almost to a halt because everyone involved music in one breath, in the deepest inner consent.
Whether that persistent acclaimed concert incidentally therefore took place in the afternoon because Martha Argerich evening still wanted to celebrate a private party, speculation must remain. Daniel Barenboim, however, no time would have had. He stood at 19.30 for another commitment, this time in Charlottenburg, in the orchestra pit of the Schiller Theater, where waiting for him for another performance of the new production of Bohuslav Martinu’s surrealist opera “Juliette”.
On August 13, Martha Argerich will perform with the West-Eastern Divan Orchestra and Daniel Barenboim at the Waldbühne.
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