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Bbadum – By Ulf Kaack. Great music is always on the agenda when the cantori is played in large numbers, that is to say with extended orchestral support. It is not surprising that the college was busy Saturday. On the program, Wiener Klbadik was on the program a combined choir and concert for the first time, enriched for the first time by two piano concertos.
Already the screenplay, when nearly 100 soloists, singers and instrumentalists have positioned themselves on stage in the sanctuary, have made fun of it. A process of one minute and apparently exactly planned. However, the first notes were heard from the start. Not to be seen by the public, because outside the field of vision, Ralf and David Bence Wosch have sung with four hands the "Rondo alla Ongore" of Joseph Haydn. A pleasant introduction to which the first movement "Allegro Aperto" of the "Lützow Piano Concerto", composed in 1776 by Wolfgang Amadeus Mozart, is joined in a transparent manner.
The only Maja Noémi Wosch, 13, impressed on the wings with a brilliant performance. Powerful and expressive, she has mastered the technically demanding score, mastering quick pbades with confidence.
The Coronation Mbad, also written by Mozart, was the highlight of the day. A huge work of symphonic appearance, in which the intervention of all actors was requested. Well proportioned in small, opulent and hymn-like sections whenever voices and instruments combine to give a brilliant pathos. Because of his power, he is jokingly called and not unfairly Dröhnungsmesse.
Those who did not only want the opus to be an exceptional audio experience, but also wanted to get closer to the textual content, were helped by the program. Not only the Latin word of the original has been printed here. The German translation delivered the organizers with the same.
And in this text, the work has taken another dimension. Namely the deep religiosity that Mozart joined in 1779 with his scores. He wrote them according to the very strict specifications of the Archbishop, because a Mbad must be understood as a musical sermon. Thus, the unusually formal unity of the music reflected the depth of the liturgical text.
After the break, the second piano concert began. This time, taken from the pen of Ludwig van Beethoven, served virtually by István Fülöp at the grand piano. Here, the winds and strings formed an expressive sound image, incorporating the solo piano into a multi-layered tonal plane. A reciprocal game of domination has followed its course. Beethoven's composition combines many exciting emotional formations: silence is staged in terms of sound. Elegance, festive and introspective moments erupted.
Thick eulogy for Kreiskantorin
Finally, the work of mozartsche was tried again: "Laudate dominum" and "Magnificat" of the "Soless Vesperae of Confessore". Almost shyly, evening prayer has touched its pastoral, even explosive, core. Quiet and sober at first, then deliberately project a complex and multilayered soundscape. Turbulent, lively and sparkling orchestra, undoubtedly Viennese features. The soloists – Maria Schreyer, Monika Zens, Frank Blümel and Michael Eckel – marked the liturgical context at the highest level.
After all, it was a concert that met the highest standards. On the one hand by the homogeneous selection of works, on the other hand by intelligent arrangements and the interpretation of what is proposed. The District Cantor Reka-Zsuzsánna Fülöp, who was responsible for the overall management, undeniably accomplished great things. 57 Kantorei singers, 31 orchestral musicians as well as eight instrumental and vocal soloists followed their direction and were trained to form a perfectly functioning unit.
The connoisseurs of Kantorei had in advance a striking idea of intensive and precise preparations. The whole song shone with newfound dynamism and depth, which settled in the interplay of noisy and withdrawn pbadages.
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