Points of focus in 2017: Original sound

Original sound

Auf Quellen zurückzugreifen, ist eine unverzichtbare wissenschaftliche Devise, aber auch ein notwendiges Prinzip, wenn es um künstlerische Interpretation geht. Auf dem Gebiet der Musik gilt dies zunächst für den Notentext, aus dem die Aufführenden spielen. Es gilt aber auch für all das, was zwischen den Zeilen steht. Das Nichtfixierte umfasst weit mehr, als man im flüchtigen Überdenken annimmt –  etwa die Art der Instrumente, Besetzungsstärke, Wahl des Tempos und seiner Modifikationen, Tongebung, Synchronisation und manches andere mehr.

Es gehört zum Wesen der Tonkunst, dass ihre Werke immer wieder aus der stummen Schriftgestalt in schwingende Luft umgewandelt, gleichsam aus tiefgefrorenem Zustand zum Leben erweckt werden müssen. Dies geschieht durch Interpretation, das heißt: durch subjektives Zutun der Aufführenden. Die Geschichte der Interpretation aber schreibt sich nicht einlinig und klar gerichtet fort, sie vollzieht sich vielmehr in einem komplexen Ineinanderwirken von Weitergehen und Rückbesinnen. Die historisch informierte Aufführungspraxis bietet dafür das beste Beispiel. Ihr Interesse war und ist es, so weit wie möglich die klangliche und musiksprachliche Basis zu finden, auf der die Komponisten in ihrer Zeit aufbauen konnten.

Längst sind Originalklangensembles aus dem Musikleben nicht mehr wegzudenken; sie ergänzen die etablierten Symphonieorchester, wirken auch auf deren Bewusstsein und Ästhetik ein, und sie sind von zwei ansteckenden Eigenschaften beseelt: unstillbarem Forscherdrang und unbändiger Musizierlust. Zum Beethovenfest Bonn 2017 sind drei Ensembles aus Frankreich und Belgien eingeladen. Sie konzipierten ihre Programme um die Hauptperson, deren Epoche und um das Motto des Festivals.

Fri 15.9. | 8 p.m

Karine Deshayes and Opera Fuoco

Works by Joseph Haydn, Ludwig van Beethoven and Johann Wilhelm Wilms

Recently our French neighbours have lit on many ideas to enliven our musical tradition. Opera Fuoco, an ensemble founded and directed by David Stern, has raised eyebrows with a bold new concept: a fresh look at 18th- and 19th-century music from the standpoint of opera. Now it introduces the ‘Leonore Overture’ of Ferdinando Paër, a composer highly successful in Paris at the time, while casting a sidelong glance at an opera written at the same time on the same subject: Beethoven’s ‘Fidelio’. Joining these works are a cantata by Xavier Boisselot, the highly talented offspring of a family of piano manufacturers, and Marguerite’s ravishing love-drenched romance from Berlioz’s ‘La damnation de Faust’. The evening ends with Beethoven’s effervescent Eighth Symphony in the ‘period sound’ of its era.

Opera Fuoco © Studio CLASSIQUENEWS

Opera Fuoco © Studio CLASSIQUENEWS

Fri 19.9. | 8 p.m

Profeti della Quinta

Works by Joseph Haydn, Ludwig van Beethoven and Johann Wilhelm Wilms

The Swiss-Israeli vocal ensemble Profeti della Quinta proves that audiences can still be thrilled by late-renaissance Italian madrigals. All the works – or almost all – deal with love. Five singers trained at Basle's Schola Cantorum form the core of this ensemble of 'prophets'. Their starting point is the performance practice of the unimaginably vibrant and expressive era around 1600. A lot was going on in secular vocal music at the time: composers set the demanding lyrical poetry of Petrarch and Tasso and constantly vied with each other to produce ever bolder musical audacities.

Fri 27.9. | 8 p.m

Ronald Brautigam

Works by Joseph Haydn, Ferdinand Ries and Ludwig van Beethoven

Ronald Brautigam’s hammerklavier recital unites two generations of composers – Haydn, Beethoven and Ferdinand Ries – beneath the banner of the fantasy. Haydn is represented by his good-humoured ‘Fantasy in C major’, his successor Beethoven by the Piano Sonata op. 27, no. 1, and the ‘Fantasy in B major’ op. 77. Beethoven’s contemporaries viewed this latter piece as an extension of the improvisations with which he had created a sensation in Vienna. ‘Le rêve’ (The dream) by Beethoven’s friend from Bonn, Ferdinand Ries, approaches the world of romanticism. Beethoven held it in high esteem, and wrote to the composer in London that it had even been learnt by one of his pupils: Archduke Rudolph. What an honour!

Ronald Brautigam © Marco Borggreve

Ronald Brautigam © Marco Borggreve

Fri 29.9. | 8 p.m

Le Concert Olympique and Jan Caeyers

Works by Ludwig van Beethoven

Though Joseph Haydn was only briefly Beethoven’s teacher, his late works were of formative importance to the young man – including the sparkling ‘London’ Piano Sonatas in C and E-flat major (1794). A short while later Beethoven wrote a set of piano variations on a Russian dance that revealed his independent approach to this popular genre. With the ‘Waldstein’ Sonata the piano sonata entered the realm of truly ‘great’ art on a par with the symphony. The Dutch pianist-composer Johann Wilhelm Wilms signifies the European impact of the Viennese classical style around 1800. And in the multiple prize-winning Dutch pianist Ronald Brautigam the Beethovenfest has found an artist capable of performing brilliantly both on a modern instrument and on a hammerklavier.

Jan Caeyers © Marco Borggreve

Jan Caeyers © Marco Borggreve

Fri 29.9. | 8 p.m

Ronald Brautigam

Works by Joseph Haydn, Ludwig van Beethoven and Johann Wilhelm Wilms

Though Joseph Haydn was only briefly Beethoven’s teacher, his late works were of formative importance to the young man – including the sparkling ‘London’ Piano Sonatas in C and E-flat major (1794). A short while later Beethoven wrote a set of piano variations on a Russian dance that revealed his independent approach to this popular genre. With the ‘Waldstein’ Sonata the piano sonata entered the realm of truly ‘great’ art on a par with the symphony. The Dutch pianist-composer Johann Wilhelm Wilms signifies the European impact of the Viennese classical style around 1800. And in the multiple prize-winning Dutch pianist Ronald Brautigam the Beethovenfest has found an artist capable of performing brilliantly both on a modern instrument and on a hammerklavier.

Ronald Brautigam © Marco Borggreve

Ronald Brautigam © Marco Borggreve

Fri 30.9. | 8 p.m

Le Concert OlympiLes Musiciens du Louvre and Sébastien Rouland que and Jan Caeyers

Works by Christoph W. Gluck, Joseph Haydn, Hector Berlioz, Charles Gounod and Jacques Offenbach

Les Musiciens du Louvre will devote  themselves to the two most famous pairs of lovers in history: Orpheus and Eurydice, and Romeo and Juliet. Countless times they have been given literary treatment, set to music and placed on stage. The fate of the ancient mythological couple fascinated both Gluck and Haydn – and was later satirised in an Offenbach operetta. Shakespeare's play was transformed into a romantic opera in Charles Gounod's »Roméo et Juliette«, and Hector Berlioz produced the most beautiful of 'midsummer night's dreams' in riveting orchestral songs. With their survey of famous love stories, this prize-winning period performance ensemble from France now conquers the romantic repertoire!

Foto: Florence Grandidier

Foto: Florence Grandidier

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