/ world right this moment information/ The tenth pageant “The Artwork of the Baroque” continues with its journey by Europe – Venice, Naples, Paris, Madrid, Dresden… Musical portraits of London and Petersburg are coming. For his or her live performance entitled “Night time music from the streets of Madrid”, the worldwide group Il Pomo d’oro (The Golden Apple) invited the 22-year-old French cellist Edgar Moreau.
Actually, of the authors carried out – Hasse, Platti, Vivaldi, Telemann and Boccherini – solely within the lives of Johann Adolf Hasse and Luigi Boccherini the Spanish capital performs a job. The thought, I suppose, is to point out the “will of the Baroque” as a new-for-its-time sensibility that aspires to an artwork containing a gorgeous gesture of motion, to paraphrase Ortega-y-Gasset. This program arrived from Lisbon and after its Sofia presentation went to Baden Baden.
A number of phrases concerning the orchestra, which on the live performance within the corridor of Sofia College was in a chamber format beneath the route of its conductor and harpsichordist Maxim Emelianichev. The concertmaster is the Bulgarian Zefira Valova, to which Sofia owes the annual baroque pageant for 10 years. And the composition is just 4, it was created, because it says on the web site of the orchestra, “with a give attention to the opera style, however in fact additionally performs instrumental music”. They’ve been collectively for some time, however they’re already in nice demand for concert events, for opera recordings, for the partnership of nice artists, such because the countertenor Max Emanuel Cencic or Joyce Di Donato. Their fast success is no surprise, as a result of every one in every of them has a powerful biography of a baroque musician and a grasp of his historical instrument.
They seize consideration instantly above all with a vibrating sound charged with effervescent vitality, a sound extraordinarily cell in its quantity and density, in its timbre high quality. They create out the plasticity of the carried out music in its dramatic pronunciation to the particularly theatrical. The wonderful range in phrasing additionally contributes to this – the phrase from a purely musical ingredient of the shape is remodeled right into a line, a monologue, creates a tense, intense dialogue between devices and teams with the corresponding acoustic perspective. It’s achieved with the large arsenal of means – difficult play with the dynamics, enlargement and contraction of the horizontal, weighting or lightening of the vertical, cult of the stroke, particularly important for the musical prosody of the period, coloring of every voice of the polyphonic construction, totally different kind of ending of the phrase – stopping, fading, undulating, with contrasting tones of their dynamics, with virtuosic asceticism within the cadences… It’s troublesome to record all of the sound-extracting “tips” that come out of the core of the “Golden Apple” to point out the up to date sounding model of the musical XVIII century. And that are additionally because of the sculpted bow method of every and all collectively.
Particularly fascinating was their mixture with the very spectacular soloist, the cellist Edgar Moreau. He’s a Parisian, presently learning with Frans Helmerson on the Kronberg-Academy. A 15-year-old receives the award for younger artist on the “Rostropovich” competitors in Paris, a 17-year-old wins second prize on the “Tchaikovsky” competitors. Though he performs the cello (David Tekler) from 1711, the sound of his instrument contrasts the ensemble with its current. He performed three cello concertos – by Platti, Vivaldi and Boccherini, searching for his private perspective within the general sound image.
For the not often gifted like Moreau, the cliché goes: “He’s an completed instrumentalist and musician”; and he who produces it considers that it has most convincingly proven the excessive place of the soloist. It feels like a judgment to me, as a result of I imagine that artists of this high quality are at all times “unfinished”. Moreau, on this sense, won’t ever be completed: the temperament that pours into his sound betrays a gorgeous impatience in revealing and thus recalling yet one more precept of baroque rhetoric – that of antithesis. He does it by his sound creativeness – the extra direct, assertive emission of the soloist “performs” versatile mixtures with the ensemble. The solo brow generally rose in noble supremacy, then sought to return to the bosom of the “genuine” sound, to obtain from its particular vibration. A really spectacular partnership (for instance, with Ludovico Minazzi’s historical, gamba-like brow sound within the gradual a part of the Platti concerto), an natural “entry” into the precise legato-aesthetics of the ensemble, each within the elastic strategy to phrasing or within the vitality targeted within the number of strokes within the cadenzas (particularly within the Boccherini concerto). On this sense, the music introduced by Il Pomo D’Oro in partnership with Edgar Moreau metaphorizes the thought of the round motion of time, the actual kind of musical concord of various eras and, in the end, defines the “will of the Baroque” in fashionable occasions.
v-k Kultura
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