Hölderlin „In lieblicher Bläue blühet“ – hören, lesen, reflektieren

Foto: Engelhardt Michael (c) Martin Wieldraaijer/Stephan Maria Glöckner

In lieblicher Bläue blühet

Gerade jetzt, im Krisenmodus: hören, lesen, reflektieren. Und zwar nicht nur Nachrichten, Hintergründe zur Corona-Krise, die jeden bis ins Innerste trifft, beunruhigt, erschüttert. Gerade jetzt Beethoven hören. Und Hölderlin, der am 20. März vor 250 Jahren geboren wurde. Zum Beispiel den Prosatext „In lieblicher Bläue blühet“, den man am besten laut liest, denn Hölderlins Sprache will wie Musik gehört werden. In diesem Text wird der Mensch verortet. Verortet in seiner Beziehung, seinem Verhältnis zur Welt, der Erde und dem Himmel, seinem Streben im Denken und in der Kunst. Dieser Mensch kennt die Krise, hat sie erlitten, durchlebt – und er sieht und glaubt an eine Utopie des «ewigen Friedens» (Kant). «Nämlich es hemmen den Donnergang nie die Welten des Schöpfers.»

Weiterlesen

Veröffentlicht unter Alle Beiträge
Hinterlasse einen Kommentar

Aus den Kerkern: Teodor Currentzis dirigiert Philippe Hersants «Tristia»

Teodor Currentzis und musicAeterna (Foto:
©Alexandra Muraviova)

Fast zwei Jahrzehnte musste Warlam Schalamow im sowjetischen Gulag verbringen. Auch der Dichter Ossip Mandelstam war inhaftiert – und überlebte das unmenschliche Lagersystem, wie so viele, nicht. Beide haben sie eindringlich ihre Erfahrungen geschildert: ihre Verzweiflung und ihre Einsamkeit, Hoffnungsschimmer und Ohnmacht. Ihre Texte, aber auch Gedichte heutiger Häftlinge hat der französische Komponist Philippe Hersant in Tristia vertont und zusammengeführt – im Auftrag von Teodor Currentzis, der Hersants ungewöhnliche Choroper am 2. April bei LUCERNE FESTIVAL dirigiert.

Weiterlesen

Veröffentlicht unter Alle Beiträge
Verschlagwortet mit , , ,
Hinterlasse einen Kommentar

Poetry from Prison: Teodor Currentzis Conducts “Tristia”

Teodor Currentzis and musicAeterna (©Alexandra Muraviova)

Varlam Shalamov had to spend almost two decades in the Soviet Gulag. His fellow poet Ossip Mandelstam was likewise imprisoned and, like so many others, did not survive the inhuman camp system. Both described their experiences in vivid detail: their despair and loneliness, glimmers of hope and the sense of powerlessness. The French composer Philippe Hersant has set to music these texts, as well as poems by prisoners today, in his cycle Tristia. This unusual choral opera was commissioned by Teodor Currentzis, who will conducted it on 2 April at LUCERNE FESTIVAL.

Tristia began as a short vocal cycle for the “Ombres et Lumières” Festival in Clairvaux, when Philippe Hersant set to music 13 poems that inmates of the prison there had written as part of a workshop. Teodor Currentzis heard the cycle and asked Hersant to expand it into a full-length work. He suggested juxtaposing the French poems in a dialogue with texts by Soviet political prisoners. Perm, where Currentzis was active as music director of the opera house until 2019 and where Tristia was premiered four years ago, has the only museum in Russia that commemorates the atrocities of the Soviet gulag system.

Tristia thus contains not only poems by Clairvaux prisoners like Dumè (the Corsican nickname for Dominik), who sings of a small bird as an image of freedom, and Takezo, who took his nom de plume from a 17th-century samurai and who distills everyday prison life into concise haikus, but also texts by well-known poets like Ossip Mandelstam, Varlam Schalamov, and others. “I personally met with the prisoners of Clairvaux, whose poems formed the basis of the musical pieces,” Hersant explains. “I knew they were all criminal offenders, but when my initial concerns disappeared (it seems to me, no one wants to be behind bars out of choice), I realized that these meetings gave me much more than I had expected. The meetings were very informative, and they helped me to ask myself questions that had never occurred to me before.”

“The difficulty was to determine the logic of the poems’ presentation. Despite the differences, the French and the Russian sections are united. They are linked to each other on a subtle level, they are united by the common musical themes. […] This is one of the most beautiful projects in which I have had the good fortune to participate in. I am delighted that we have managed to make a single whole out of the words of the Clairvaux prisoners and the Russian prisoners, and this common voice will be heard by all sorts of people. I think that for all of these men and women poetry became the saving force, the mysterious power keeping them from extinction.”

Because he wanted to preserve the “intimate character” of the original vocal cycle in Tristia, Hersant refrained from using a large orchestra. Instead, he uses a small but distinctive instrumental ensemble to accompany the choir, which appears in a wide variety of formations, including some solo parts for the singers. The cello and bassoon are given roles, like musical actors. A harmonica, accordion, and Armenian duduk are also used. The result is a work that is as touching as it is original: a loose sequence of scenes in six “circles of hell” (Hersant pointedly alludes to Dante’s Divine Comedy) confronts the loneliness and grief of the prisoners, but also shows their moments of hope, spiritual illumination, and longing for freedom. Musically, Hersant combines vastly varied influences ranging from classical to folk, from the old to the innovative.

Malte Lohmann | Editor LUCERNE FESTIVAL

TRISTIA
Thursday, 2 April 2020
19.30 | KKL Luzern, Concert Hall

musicAeterna (Vitaly Polonsky chorus master)
soloists of the LUCERNE FESTIVAL ORCHESTRA 
Teodor Currentzis conductor
Mikhail Meylach reciter

Philippe Hersant (*1948)
Tristia. Choral opera for mixed chorus and instrumental ensemble

Veröffentlicht unter Alle Beiträge
Verschlagwortet mit , , ,
Hinterlasse einen Kommentar

Ein grosses Glück: Mariss Jansons in Luzern

Mariss Jansons beim Oster-Festival 2016 (Foto: LUCERNE FESTIVAL/Priska Ketterer)

Kurz vor Ostern schien für einige Tage nicht die Reuss, sondern die Isar durch Luzern zu fliessen. Anders formuliert: Um Palmsonntag, am finalen Wochenende des Oster-Festivals, gastierte ab 2004 das Symphonieorchester des Bayerischen Rundfunks als Residenzklangkörper bei LUCERNE FESTIVAL. Und das war ein grosses Glück, denn so war regelmässig einer der bedeutendsten Dirigenten unserer Zeit am Vierwaldstättersee zu erleben: Mariss Jansons.

Weiterlesen

Veröffentlicht unter Alle Beiträge
Verschlagwortet mit , ,
Hinterlasse einen Kommentar

The premiere in Lucerne through the eyes of Roche employees

Photo © Roche / Nik Hunger

“I am not ‘trained’ in contemporary classical music, so my ear was somehow looking for a melody. I admit it is not so easy to understand what the composers meant but it was a great experience to be exposed to something so ‘exotic’ to my ear,” said one Roche scientist who attended the Roche Young Commissions Première in Lucerne.

Weiterlesen

Veröffentlicht unter Alle Beiträge, LUCERNE FESTIVAL ACADEMY
Verschlagwortet mit ,
Hinterlasse einen Kommentar

Grand finale of the China tour in Shenzhen

With Rachmaninoff’s Piano Concerto No. 3 and Tchaikovsky’s Symphony No. 4 the Lucerne Festival Orchestra concluded its third tour through China with Music Director Riccardo Chailly in the Shenzhen Concert Hall.

Weiterlesen

Veröffentlicht unter Alle Beiträge, LUCERNE FESTIVAL ORCHESTRA, On Tour 2019
Verschlagwortet mit , ,
Hinterlasse einen Kommentar

Father and son on tour with the Lucerne Festival Orchestra

What does the Lucerne Festival Orchestra mean to you?

Wolfram: To me the Lucerne Festival Orchestra means playing orchestral repertoire together with the most enthusiastic musicians on a sensational level, at the spectacular Lucerne Festival, supported by an extremely professional and warmhearted organization.

Weiterlesen

Veröffentlicht unter Alle Beiträge, LUCERNE FESTIVAL ORCHESTRA, On Tour 2019
Verschlagwortet mit , , ,
Hinterlasse einen Kommentar

The Lucerne Festival Orchestra continued its Shanghai residency

The Lucerne Festival Orchestra travelled to China for the third time in a row: from 15 to 17 October, and continued its Shanghai residency with three concerts under the direction of Music Director Riccardo Chailly.

Weiterlesen

Veröffentlicht unter Alle Beiträge, LUCERNE FESTIVAL in Shanghai, LUCERNE FESTIVAL ORCHESTRA, On Tour 2019
Verschlagwortet mit , , ,
Hinterlasse einen Kommentar

Workshops in Shanghai with the Lucerne Festival Orchestra

During its Shanghai residency with three concerts from 15 to 17 October, members of the Lucerne Festival Orchestra, Reinhold Friedrich (trumpet), Jacques Zoon (flute), Simon van Holen (Bassoon), Raymond Curfs (percussion), Ivo Gass (horn) and Dina Heidinger (oboe) hold workshops in the Shanghai Symphony Concert Hall.

Weiterlesen

Veröffentlicht unter Alle Beiträge, LUCERNE FESTIVAL in Shanghai, LUCERNE FESTIVAL ORCHESTRA, On Tour 2019
Verschlagwortet mit , , , , ,
Hinterlasse einen Kommentar

„I hit on everything that sounds or doesn’t sound.“ Raymond Curfs

What does the Lucerne Festival Orchestra mean to you?

To me, the Lucerne Festival Orchestra means the perfect musical realization of making music amongst greatly inspiring and extremely fine musical friends. Since I’ve been a member from the beginning, when Claudio Abbado re-started the Lucerne Festival Orchestra, it’s almost like a baby to me.

Weiterlesen

Veröffentlicht unter Alle Beiträge, LUCERNE FESTIVAL ORCHESTRA, On Tour 2019
Verschlagwortet mit , , ,
Hinterlasse einen Kommentar