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prophets who have fun at work, so warn repeatedly, were false. For authentication certificate belongs to the significant resistance of those called to his vocation. Jona is known Ausgebüxt before his order, Elias had eventually enough and Jeremiah felt raped by God. The fun, the composer Péter Eötvös and his recently deceased librettist Péter Esterházy try to drive at the beginning of their just premiered in Salzburg oratorio “Hallelujah”, in this tradition: It is he fun of resistance to the order of the prophecy. The spokesman, the angel, the prophet, the choir soft faced with the task of the Oratory of the joke.
Author: Jan Brachmann, editor in the features section.
The joke, however, shoots with moist powder. “My talkativeness is structural in nature, thus a non verbesserbarer error” must tell Peter Simonischek as Narrator. And you get the feeling, the oratory delivers here his own with audioguide. The Choir of the Hungarian Radio, rehearsed by Zoltán Pad which intersperses always wonderful Hallelujah settings by Monteverdi to Mussorgsky is denounced by Narrator: “It is self-important, say no more.” Even the angels, skillfully by the mezzo-soprano Iris Vermillion sung in a mixture of Schnapsdrossel and rifle-provides us with footnotes to his character: he had “drunk before times with Nietzsche” and can since “not again be sober.” Ongoing art that comments on itself. Good Verse sings at the beginning only the tenor Topi Lehtipuu as a prophet who does not want to predict the correct lottery numbers: “The dirty hands of happiness summarizes elsewhere out not in the right lap.”
But then the fun stops on. Esterházy has written a scenic grotesque about the airplane attacks on the World Trade Center in New York on 11 September 2,001th A government spokesman sees the images on TV and think: “Now bring in the afternoon disaster movies”, while his wife in just the plane sitting and ordered tomato juice. That’s all oratorical of real action. In between is the reasoning. Sharp edges, accompanied by a lot of drums, lovingly recalling Iannis Xenakis, the chorus declaims his ignorance. The Prophet stutters. And he stutters, is central to this “Oratorio balbulum” which not only therefore acts so full of holes because of the long text of Esterházy had to be slashed. This stuttering hesitate before telling the truth, postponing the completion
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But even here, the oratory can not do without supplied instructions. The speaker explained in the fourth part, that nobody talks about fear, about the lack of a future, about “we, perhaps for the first time, can not say anything about the future.” And the angel sings even: “See ah, the crisis of modernity is opening up.” A sign of artistic strength is not when all statements must be written again. The music of Eötvös would thereby certainly the power to speak for themselves. At the end of the flight namely scene from the Twin Towers will be reiterated. Again, the woman ordered her tomato juice. Eötvös has to compose a calculated delirium. The strings of the Vienna Philharmonic, conducted in this world premiere of Daniel Harding with insight and prudence, zerdehnen the moment. The time comes reeling. It’s the music itself that mobilizes all his strength to prevent future to refuse completion. The final blast remains off. Instead, the piano takes that piece again, which had been in an orchestration at the beginning: Robert Schumann’s “Bird as Prophet” – a grotesque, gruesome Pointe, this miniature from the romantic “Forest Scenes” op 82 on the planes of 11.. to refer September.
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How terribly long this Central European tradition of Zuversichtslosigkeit in art now already is the premiere evening shows itself by confronting the Oratory with the big “Adieu!” the Adagio from the tenth Symphony of Gustav Mahler. It is part of the divine humor this evening, that the most power emanates precisely from the magnificent closing Passacaglia in the Haydn Variations of Brahms, who had set in his “beautiful Magalona” Ludwig Tieck sentence: “the future is hope yet.” When “Ouverture spiritual”, that series of concerts of sacred music that far into this year in the actual festival and includes this premiere, there is much in this year to the music of the Eastern Churches. In the Collegiate Church of the Chor des Bayerischen Rundfunks singing parts of “Full nocturnal waking” Op. 37 by Sergei Rachmaninoff and the “Concerto for Choir” by Alfred Schnittke. Faced with the Catholic church, takes Schnittke harmonic turns – out the cultural fusion of Eastern and Western Church – reminiscent of Franz Schubert and Anton Bruckner, where they sing God’s impenetrability. Schnittke himself was Catholic. But his choral concert follows the art since Rachmaninov, who had finally managed the liturgy musically translate into Russian after she had followed in Russia since Dmitry Bortniansky long Italian models of a cappella choral art. the courage to form, in the clarity of the language in which creative assimilation inherited craft: Haunting in iron, shattering the sounds, the Chor des Bayerischen Rundfunks Schnittke music that is exactly thirty years old and undiminished their strength showing sings. And the texts of medieval Armenian monk Gregory of Narek – “songs whose verses filled with black mourning to the brim” are – talking through the centuries, as they are intended only for us
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