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Sonatas for violin and piano
Concerto for 2 pianos and orchestra (string quintet version)
January 18, 2017 /Wednesday/, 7:00 p.m., chamber hall “Bulgaria”
Zefira Valovabaroque violin
Vasily Ilisavskyhamerklavir
Galina Draganovahamerklavir
Kristina Hinova, violin,
Eugenia Bauer, viola
Christiana Genova, cello
Lena Carney, double bass
“Too many notes, dear Mozart…” (Joseph II)
The main problem in interpreting Mozart is how to make his musical language relevant to the modern listener. We have all heard Mozart’s music many times, but does it always appeal to us as directly as it clearly did to the senses of the composer’s contemporaries? Yes, his most famous minor works (such as the D minor concerto or the A minor sonata) affect almost always and almost everyone. But does this also apply to the rest of his work, which for two centuries has been accepted as a standard of composition?
Mozart is an important factor in the modern economy: films are made about him, candies are sold with his name, his music is distributed in psychotherapy and operating theaters on the recommendation of scientists and doctors. But does all this mean that we understand her? Like the speech of our ancestors, the musical language of Mozart’s age has never been heard by us.
In Mozart we cannot even try, as, for example, in Chopin, to feel minimal but direct connections with historical performance truth. His musical grandchildren and great-grandchildren were gone long before the recording era. Even more: in the past 200 years, interpretive traditions have accumulated “layering” on his text, which is surprisingly simple and economical in terms of notation. No wonder Svyatoslav Richter finds him the most difficult composer – crystal clear water, the bottom is visible, but try to reach it.
Returning to Mozart’s instruments for doubting musicians immediately provides support and a starting point in the search. It was Mozart’s music that inspired the modern trend for the authentic Hamerklavier, as this instrument solved the biggest performance problems encountered in Mozart’s music: the excessive massiveness and volume of the modern grand piano and its insufficient articulation (i.e. the onset and stop of the tone ). Thus, in the performance of today’s piano, the pianist is forced to ignore some essential rules from the time of the classics.
The instruments used by Mozart were more than modest in their capabilities. Suffice it to note that the composer Anton Walter’s piano had only manual levers to actuate what are now known as pedals and was redesigned for the “knee version” after Mozart’s death. This means that the performer of this instrument had to remove his hand from the keyboard to trigger the corresponding effect. This circumstance automatically defines this effect as an “exceptional” measure. The piano used in the concert is a copy of Anton Walther’s model from the later period (1790s) and now has knee pedals.
But moving past the technical details, we are increasingly interested in the philosophy of the Hammerclavier. The instrument that defines the limits of physical capabilities, but not of spiritual ones. For whom strength is paradoxically in his weakness. For whom containment means liberation. As for Mozart’s music.
And today – with the small keys of the Mozart piano – we try to revive the spirit of this speaking music, written in the times when people still knew the meaning of the word “Ah…”.
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TICKETS
in the network and at the box office of Bulgaria Hall, 1 Aksakov St.
Ticket office:
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on Saturday: from 09:30 to 14:30
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