Testimony of Love: Four Universal Proposals for a Wife

These four composers, under the age of 30, presented an extraordinary festive evening at the Fürstenzel Parish Church: Carlotta Rabih Joachim (with client Volker Blitz). − Photos: Tony Schultz

A woman completes her life and leaves this land. Her husband, with whom Erica had engaged in 54 years of marriage, commissioned four composers to write an orchestral work for her. Students of composition professor Moritz Eggert at the Munich Academy of Music work on their works for two years. On an evening that was so lively and lively, I heard these four tunes for the first time on Friday evening at the parish church of the Assumption of the Virgin Mary in Fürstenzel (Passau region) at the Passau European Festival of Weeks. In the first row: Volker Blitz, client and sponsor, known in Passau as co-founder of “1st Passau Jazz Club” and dentist for many years.

You can access audio samples of compositions here

As poignant as the story sounds, it’s also clear that many people haven’t discovered contemporary classics yet as fun. Accordingly, EW Director Carsten Gerhard is working with all the tricks: he’s splitting the new music into a “long night of short partying” starting at 5 p.m., with plenty of drinks and even a festive feast at halftime. The message to a supposedly skeptical audience is clear: “Don’t worry, you’ll get past that and you’ll get Schubert, Mozart, Dvorak and good food as a reward!”

This new music is so exciting – and so easy to hear – that a few fewer warning signs could have a better effect. Especially since the very young National Chamber of the Prague Orchestra under the direction of Tomáš Brauner achieved great things that day in terms of stamina and focus.

The first concert was composed by Alexander Mathewson, born in 1992. His work is called “Symphony No. 1”, which traces life together: a hymn-like trumpet announces the departure to the new; As if new love is rock ‘n’ roll, strings striking 4/4 in a symphony, oboe and flute breathing sorrow and farewell, Jazzy Swing opens the film’s music finale – you can almost see the couple in a flashback drive until sunset together.

The second concert captures this idea of ​​travel even more vividly: With hollow wind noise and glissando calculated at a lofty record, Bernhard Plechinger, born in 1994, takes the listener by helicopter on “The Journey… in 5 Views of Life” and considers contrasting sides of A bird’s eye view and the moods of life itself: here is poetic, there is string-cut drama, dance, sigh, at last Gustav Mahler-Eski’s lament, transcendence, again vertigo blades and ascension into a wonderful afterlife.

The third concert, “The Flow of Time” by Carlotta Rabih Joachim, born in 1995, is characterized by great earnestness, with track searches, small movements, solos, duets, trios and quartets within the orchestra, the floating glisande, which only flows at the end to Totti ( To bring life, sea, death).

Concert 4, “Symphonic Variations” by Maxim Liach, born in 1995, traverses musical characteristics, timeless soundscapes, grand chord movements, synchronized grooves, pizza perturbations, squeaky brass flaps, double bass solo and forever accompaniment with Tampani and horns.

Experiencing these sounds is just as refreshing as the conversations afterwards. By the way: Much has been written about the works of Schubert, Mozart and Dvushak for hundreds of years, and they have a break in this text.

Just one idea, not two: How about not covering the new work with a classic – but putting the contemporary work at last in a peak sense? W: If it is “extremely important” (a quote from director Carsten Gerhard) that you play young artists, it is even more important that you not give birth to a one-day wonderland with world premieres. But also to grow new music – why will it be shown for the first time?

It would be a leading cultural-political choice for festivals like the European Weeks in Passau, not only to present new music as a sign of openness to homeopathy, but to excite young, high-quality work to the audience at every concert (!) without making a very big deal out of it. Until it becomes as normal as it was in Bach’s time. Just as we don’t reach for a book from the Baroque and Classical periods every day when reading, we can also be keen on variety when listening to music. Raymond MeisenbergerAll reports related to the festival can be found digitally at pnp.de/ew

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