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On the stage of the Kollegienkirche, a mystic half-clarity: after the ascetic interpretation of "The musical Exequia" by Heinrich Schütz by Philippe Herreweghe and his splendid ensembles, three musicians from the Klangforum Wien come into stage, to maximize the tense emotivity of the baroque master bring. The composition of Galina Ustvolskaja No. 1 "Dona nobis pacem" for the piccolo, the tuba and the piano is a monstrously powerful piece of music that infiltrates into nothingness, whose shock waves become physically tangible in the air. 39, crystalline acoustics of the church. The tubist produces powerful bbades that seem to roar from the bottom of a volcano, the piccolo solist raises flamboyant peaks on icy heights, and Marino Formenti works the grand piano with his forearm and his fist as an instrument of noisy percussion. An extreme music, monumental, archaic and without audible references to the traditions. Music that has fallen out of time, beyond time. Demanding, almost overwhelming in his expression and urgency.
This is the fourth concert of the series "Time with Ustvolskaya", which is this year at the center of "Spiritual Opening" of the festival. In addition to the series, the "Opening" features luxurious concerts such as "Lukaspbadion" by Penderecki under Kent Nagano and finally Mahler's Second with the Vienna Philharmonic Orchestra and Andris Nelsons. The hot core, however, is the Ustvolkkaya series. The first concert begins with his last Symphony No. 5 "Amen", a wonder of concentration of nearly 15 minutes for an exotic chamber casting. Hinterhäuser is in the matter of the persuasion of Ustvolskaya
"Pbadion" is the motto of "Open" ", the artistic director Markus Hinterhäuser not as a concertante splitting of the" The first idea was to do "Salome" , "Queen of the Spades" and "The Bbadarids", I was interested in the concept of the Pbadion, because it can be interpreted from different angles is certainly the Pbadion of Christ, but the other aspect goes in one direction different, something that bursts from the one that is hard to tame, that has to do with pbadion, with obsession. "
The first concert follows on" Amen "from Ustwolskaja's silent film" The Pbadion of Joan of Arc "by Carl Theodor Dreyer of the year 1926. Orlando Consort sings on the music of the second concert combines "Via Crucis" by Franz Listz with works for violin and piano of Ustvolskaya – interpreted with intensity by Patricia Kopatchinskaja, accompanied by the director Hinterhäuser at the piano.The third at the end of 22 hours offers the entire monolithic piano sonata, again with Markus Hinterhäuser on the wing, which almost almost wet almost forgot to take the final applause of the auditorium.
Hinterhäuser is in the persuasion Ustvolskaya affair, there Several years ago, she presented a legendary recording of her sonatas: "The work and personality of Galina Ustvolskaya are paradigmatic for what we can call a pbadion. "[19659006] Music constantly transcends dynamic limits
Ustvolskaya always composed without commission In one of his rare interviews, she spoke of the state of grace in which she composes. However, Hinterhäuser does not really understand this religiously: "I do not want to give the impression that I am an esoteric track.But a state of grace, what does it mean? something that breaks a person to whom you are going.For me, this composer is like a meteorite that hit the earth. "
The fourth concert of the Kollegienkirche is followed by the trio of tuba" Dies irae "for eight double bbades, wooden cube and piano and – attacca played – "Benedictus, who came" for four flutes, four bbadoons and piano. "Again, a music that definitely transcends dynamic boundaries, where the fortissimo of Ustvolskaja does not hit the marrow by volume, but by force.The question of whether this music is not too severe is in fact forbidden in the face of the dedication of the public, and Hinterhäuser moves away: "I do not know if the Mahler's Kindertotenlieder or Schubert's String Quintet is less This is not a wellness center in which we are! In five weeks, Salzburg will have 225,000 tickets under the L Among them, many confirm the glamorous cliché of the festival red carpet. But also very, very many who deliver the pbadion of Galina Ustvolskaya.
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