A program, like an arrow from the Viennese classical period in the middle of the 20th century. Century aims: The spectrum, the pianist Elena Bashkirova on Tuesday evening in the chamber music hall open, ranging from Mozart to Dvorak to Bartok. Thus, from a man who thought everything that he did, from the piano, the Czechs, the more likely the violin was the instrument of the heart, the great Hungarian experimenter and the sound of the new finder from the spirit of folk music.
Bashkirova, which will enrich the audience of Berlin in April and again with the led chamber music festival "Intonations" in the Jewish Museum, without the triumphal end of a potential gesture, her concert rather than a friendly invitation to Think. Delicate, blurring it approaches Mozart's fantasy for piano in d minor and the Rondo in D major, KV 485, with deliberately delayed musical flow. Which is not to say, however, that no concise shimmer would be on the attack, she seems to be always mischievous grin.
Bartók knows no mercy for the listener
music history interesting are the six variations on the final theme of the clarinet quintet, the, not Mozart, but an unknown Hand, about ten years after his death, composed – what has been long concealed, under commercial aspects, certainly a reasonable strategy. Above all, the lyrical fifth Variation falls out of the frame. Bashkirova, they interpreted, as a child would sit with wide open eyes at the piano and Play drift in completely disconnected worlds. In contrast, the piano Sonata in B flat major KV pearls 333 full of substance. In the Final movement, Mozart is said to have allegedly imitates the Fullness of a great piano Concerto, with its own cadence. You don't hear at Bashkirova, you succeed in a game of apollinis cher serenity.More about
chamber music festival "intonations" That sounds heavenlyUdo Badelt
performing dvorák's 13 "Poetic tone pictures" for piano, of which Bashkirova has chosen, are more the exception in his Oeuvre. In number three, "the old castle" hints at the horrors that could be possible only, but to a harder, baking stone attack, hammering a chromed Furiant, the spring devil puts a touch of the Grotesque about the "leprechaun dance", and completes the cycle with a zesty "Bacchanale". Bartók finally, no mercy is familiar with the listener, in a sense, in his only piano Sonata in 1926, mercilessly the percussive character of the instrument, creating in addition a highly complex rhythms, the Bashkirova appropriates to such a point that it sounds, although everything is carefully recorded, almost like free jazz. Headlong she plunges the end into the Allegro molto, foolhardy, brilliant. And all of the thoughtfulness is blown away.