I am sure that Beethoven himself would listen with interest. What we have done with his music is not a crime. We have not ruined anything. On the contrary, it is a tribute, an expression of deep respect. It is a story of surrendering to his music and a proof that after 250 years we still admire and love Beethoven from the bottom of our hearts. The outstanding, world-famous German pianist Sebastian Knauer is applying for the program This is (not) Beethoven, which he accompanied with the orchestra Sinfonietta Riga and conductor Normunds Šnē will perform in Ventspils concert halls Latvia at the opening of the season on Saturday, September 19th. What we will hear will be variations of contemporary composer Aras Safaian inspired by the music of Ludwig van Beethoven.
Record released in mid-August – co-cherished by Sebastian Knauer and Iranian composer Aras Safaian This Is (Not) Beethoven – Original music by Aras Safaian on the themes of Viennese classical iconic opuses. With the Zurich Chamber Orchestra, which can be heard in this recording, Sebastian Knauer and Arass Safayan have previously immortalized a cycle of piano concerts. ÜberBach, which brought the composer an award three years ago Echo classic.
Ludwig van Beethoven is sacred to Germans and European culture. Is it a great courage to touch his creativity with the hand of the creator?
Of course, this is a risk, because it is not easy to change Beethoven’s music. But that is not our intention. Our idea is this: a composer who lives and works today writes variations on some of Beethoven’s music themes. Writing variations on the themes of other composers, thus creating a new original work of music, has been common for a long time. At one time, Beethoven himself did the same. For example, his famous Diabelli variations – 33 variations on the theme of Anton Diabelli. (Educator, publisher, composer Anton Diabelli (1781–1858) In 1819, fifty composers each ordered one variation on the theme of their waltz for publication in a special collection with patriotic meaning. Beethoven wrote 33 variations – I. L.) In the concert in Ventspils we will play variations of Aras Safaian on the themes of Beethoven’s compositions. It’s a good way to touch on the legacy of past composers from today’s perspective.
Using Moonlight sonatas, The themes of the Seventh Symphony and other Beethoven opuses, Aras Safayian has acted similarly to Beethoven himself when he composed variations on the theme of Diabelli. Along with the original themes, you can hear their new, changed versions – with modern sound and harmonies.
What brought you together with a Tehran-born Iranian composer who grew up in Bayreuth?
Five years ago, a record company producer called and asked to listen to a recording on a computer. This was Aras Safaiana’s first composition in the cycle ÜberBach. I listened, and I liked it so much that I wanted to meet the composer. I invited him to continue what he had started and to write a whole cycle. We started working together and became good friends. I ordered his next piece two years ago. Our cooperation is very creative – together we create recordings, including videos. Aras Safaians has studied painting. We have many ideas for future projects. We just have to wait, as everyone does now.
Which of you two determined the choice of the specific classic themes?
I had some ideas, but I think it is important to allow the composer the freedom to do as he wants and sees fit. Of course, I asked Aras Safaian to write a piano concerto and revealed to him my idea of (not) Beethoven, but the choice of themes and the way of their musical transformations – compositional form, instrumentation, etc. – I leave it to him.
In the context of the routine celebration of the anniversaries of conventional geniuses, do you think another regular performance by the 32nd keyboardist in favor of Beethoven or a gift with a creative moment is more valuable?
I think both are important. Beethoven’s compositions will live forever. Of course, I have played Beethoven a lot – sonatas, piano concerts, chamber music. These works are ingenious and unbeatable, there is no doubt about that. However, I think it is also nice and important to pay tribute to the contribution of Beethoven and other composers with new ideas and works. Perhaps this is how we will be able to interest those who are not familiar with classical music about Beethoven. Of course, it is much easier to just play Beethoven’s late piano, but the inexperienced part of the public may not perceive it. But it is possible that the elements of this music will address them so much and surprise them in the work of Aras Safaian that they will want to listen to the original afterwards.
Wouldn’t it be safer to use Beethoven’s most popular opuses, whose significant motifs – such as the famous knocking of the Fate of the Fifth Symphony – are already ingrained in movies, commercials and even smartphone signals?
Moonlight sonata, The motif of the Fate of the Fifth Symphony, the final theme of the Ninth Symphony, is already particularly popular, but there are so many other, lesser-known works by Beethoven. It is about them that such works as variations of Aras Safaian might be interested.
Which path is closer to you?
I like both. Of course, I mostly play Beethoven and other classical music. That’s most of my repertoire. But in the meantime, I always try to include new music and new versions of what is already known in concerts. Four years ago, Arass Safanian wrote a piano concert cycle at my request ÜberBach. It is interesting to watch the public reaction. When I played the sonata evening, the interest of the listeners was as usual, but when listening to the new composition, the audience suddenly became especially dry, because they had never heard anything like it.
In pop music concerts, everyone praises well-known songs. Or is it not easy to offer something completely new in academic music?
It so happens that not only the audience, but also myself do not understand a completely new opus of contemporary music at the beginning. Sometimes it is necessary for the composer to tell about an idea or an unusual language of music. However, both of these works by Aras Safaian, which include the already existing signs of classical music, really work. They address and convince both me and the audience right away and do not need any explanation.
Have many composers written specifically for you?
You can’t say that much, but there could be more and more of them. I have in mind a project for next year – collaboration with a very well-known composer, but I can’t tell you about it yet.
Are your favorite concert halls and audiences at home or elsewhere?
The new Elbe Philharmonic in my native Hamburg, where I still live, is a place where I really enjoy performing. I play there often, but I couldn’t name one of my favorite concert halls. There are many great concert halls, each fragrant in a different way. Both old buildings and new, modern ones in Europe – Amsterdam, Paris, Zurich -, overseas – Japan and the USA. Acoustics are the most important, so I will not pay too much attention to the visual aspect. Southern Europe has a more responsive, lively audience. It takes longer to conquer the northern public.
I am really looking forward to performing in Ventspils, this will be my debut in Latvia. I know that the concert will take place in a new, great concert hall. I have heard a lot about Latvia and its people. I know the violinist Baiba Skridi. I had once invited Marisa Janson to conduct at my festival, unfortunately I have never played music with her. However, I have met with your President, Egil Levit. Last year, he paid an official visit to Berlin at the invitation of the German President. I had to play a concert before the official dinner. I have decided to play Peter Vasks in honor of your President White landscape. It is wonderful, very beautiful music, and this was my first encounter with Latvian music. Pēteris Vasks – this is a modern composer, whose music I fell in love with right away, and I didn’t need any explanations. The wonderful sound and atmosphere captivated and took over.
German critics can not call Vasks’ works and his musical language contemporary, new music.
It is contemporary music because it was written now, in our time. Even the music created today can be beautiful. Why does it have to be disharmonious? Critics must always find something negative (laughs).
How do you survive the Covid-19 crisis and the limitations that paralyze cultural life?
This is a very difficult time, especially for musicians, actors, opera artists. Unfortunately, we do not have a real concert life at the moment. Even if national governments relax or lift restrictions, people are in no hurry to return to concert halls. They are not convinced that it is not dangerous. I am very happy to know a few weeks ago that I will be able to perform in Latvia. This was not a long-planned trip – the offer came suddenly.
Does this crazy time significantly change the wishes and expectations of the public?
Man does not change. Whatever you have formed, that is what you are. Only young children can be brought up, but it is not possible to re-educate adults. However, we all need to be flexible and open to adapt to the remote concert process. Some concert halls are closed, while others agree to perform Gustav Mahler’s symphony with only twenty musicians, although Mahler’s orchestra must have a hundred musicians. Basically, it is a completely different piece of composition, but there is simply no other way out.
I plan to have concerts in Germany and Barcelona, but in the current situation I am not sure if they will take place. It will only be clear at the last minute. I live from concert to concert – as if when driving a ship, you can only go as far as you can see in the fog. We usually plan life for two or three years ahead, but now it is not possible, because everyone is waiting for what will happen next. It’s not easy, but I’m an optimist.
Concert
This is (not) Beethoven
Ventspils Concert Hall Latvia 19.IX at 19
Tickets Ticket paradises in the network EUR 25
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