Be@Thoven vs. Bethoden.ru

The Beethoven festival in the native composer Bonne, who is headed by the great -grandson of Wagner and the great -great -grandson of the sheet Nika Wagner, this year is held under the motto "distant lover." Bethoven had in mind, composing a song cycle with a similar name, has not yet been installed. However, the music itself is well known and does not suffer from a lack of love from the best performers. The main god of the German Lied - the clumsy Matthias Gern in a baggy suit - placed the cycle “To the distant lover” next to other songs by Beethoven, as well as Schubert and Berg. His fantastic performance in the Commonwealth with the pianist Alexander Shmaltz resigned all questions about the relevance, modernity, the freshness of this music - nothing more appropriate, modern and fresh could be imagined.

But you won’t attack such ideal Beethoven's performers for the entire huge festival, passing throughout the city for three weeks. Therefore, they try to protect their cartridge from dusting, replication, popsing and other troubles here in a variety of ways. What sides of the great fellow countryman are not considered as soon as they do not talk to him. Video broadcasts in the square, quarteteet weekend, Beethoven and modern choreography, Beethoven and jazz, Beethoven and children. A managerial project for high school students is called Ludwig + You. Campus is an annual international project for young musicians. This year he united the Germans and Ukrainians into one orchestra, in the program - a new essay for the accordions and the triple concert of Beethoven (soloists - Russian, German and Ukrainian). Behind the remote control - the Charismatic Divchin from Lviv Oksana Lyniv, who had just headed the opera of the Austrian Graz, was already entrenched in the definition of “Kurentzis in a skirt”.

However, it happens that without any Beethoven, a luxurious performance is obtained. For example, the Youth Maleovo Orchestra under the control of Ingo Metzmamer played as part of the Schönberg, Bartok, Ravel and even Gershvin festival.

Of course, to talk with Beethoven-having chosen any large essay for a more subject dialogue-they also offer his living colleagues. In 2017, Muscovite Vladimir Tarnopolsky dealt with this festival. In 2015 and 2016, their Ommads already presented Salvatore Sharrino and South Dufur. And in 2020, in the year of the 250th anniversary of Beethoven, there should be five of them, and all of them will sound in a congratulatory program.

Having played during the pre -premiere meeting with the students over the Bethintess’s petal store, Tarnopolsky explained that his composition “Be@Thoven - Invocation” has nothing to do with such a primitive use of the name of the genius. As an object for his composer thoughts and feelings, he chose the fourth piano concert, the execution of which in 1808 was the last performance of the stalling composer behind the piano. It is believed that his slow second part was born under the impression of a certain image of Orpheus, praying underground forces to regret Eurydice.

The essay of Tarnopol, written for the orchestra and two piano, gloomy. There is no need to look for quotes from Beethoven in him. Wandering in the dark in search of an elusive “distant lover” and self -awareness of a stalling person - this is his atmosphere. Unexpected identified simple sound objects - dominantseptoscord, sober - appear through the bizarre palette of half -sounds from the most extreme registers.

The new score in one evening sounded twice - before and after the fourth concert of Beethoven. Alas, with the solo pianist Havier Perianes (he hastily replaced the obstinate star of Hatya Buniatishvili), the very noticeable number of the program of the Symphony orchestra of the Hesse Radio with the Vienna-Kolumbian conductor Andres of the Orus on the remote control. The “Russian evening” “Parsley” Stravinsky and “Baba-Yaga” Lyadov who completed the “Parsley” came out much more convincing.

Beethoven was not lucky and two days earlier, at the “Russian” opening of the festival, for which the Mariinsky Orchestra with his chef was invited. Quite familiar to the scam: a solemnly dressed gray-haired audience flows to the international conference center (the usual festival of the Beethoven hall is still closed for repairs, it is prepared for the anniversary); The compact group of protesters against the totalitarian regime and his accomplice Gergiev is shown to reporters as a local attraction; “The concert may break without your help,” insider information tells them, “Maestro was late on the plane.”

As a result, Gergiev nevertheless managed to get to Bonn to the beginning of the opening concert, Nick Wagner from a hairstyle and an elf figure informed the listeners only about a change in the order of the numbers. Still, Beethoven still decided not to finish-and rightly, this is not his composer at all, you won’t play the raid at all, the fourth symphony performed by the Mariinsky Orchestra looked a complete misunderstanding. But after the intermission, “Scherazada” and “Firebird” were rolled up, the hall stood up, the uncontrolled energy flew further, the festival workers exhaled with relief.

And finally - two important news from the world of musical etiquette. First - now you can clap when the soul wishes, that is, between parts! They say that they even write about this in German newspapers. No need to limit your emotions, do not hide pleasure! The high -rise audience of the Beethoven festival amplified amicably after the first parts both in the concert of Gershvin and in Beethoven's concert.

And the second news - the conductor and soloist are not at all obliged to gentlemanly transmit his bouquet of a pretty violin from the orchestra. It seems that today it is a bad tone and sexism. You can transmit, but, for example, to some distinguished faculty.