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Church marathon – Nicolaikerk

Also playing during the last concert of the Kerkenmarathon the cellists Pablo Férrandez and Zvi Plesser play a prominent role. A unique arrangement for two cellos can be heard in the Nicolaikerk of Bach’s Second cello suite, made by Plesser and his friend and colleague Hillel Zori. In addition, attention is paid to the New Generation Artists: the four musicians from the Norwegian string quartet Opus13 play an early work by Webern. Artistic director Janine Jansen and guest programmer Amihai Grosz close the Kerkenmarathon with Mozart’s Duo in G for violin and viola.

The idea of adapting Bach’s Cello Suites for two cellos originated almost ten years ago. My colleague and good friend Hillel Zori and I were invited to a chamber music festival in Israel,” says Zvi Plesser. “They wanted us together played a recital, including something by Bach. be like that we carefully started arranging a few parts and the result was strikingly beautiful. With two cellos can you better hear Bach’s hidden harmonies, normally you have to fantasize about it as a listener. Our arrangement makes this music a bit more accessible. We have not omitted a note by Bach. We have added only the chords Bach used in his solo part suggests, but which is impossible to sound on one cello bring. We decided at the time that we would like all six wanted to edit cello suites in this way, and there we are been doing for the past ten years. In Utrecht I play the complete Second suite, by special request of Amihai, at high exception once with another cellist. Together with Hillel Zori I really want to record the cello suites sometime. And we go also publish our arrangement, one version for performers musicians and one especially for teachers.”

The Vienna-born composer Anton Webern would collaborate with his teacher Arnold Schönberg and his fellow student Alban Berg best known as a composer of the sensational “Second Viennese School” during the first half of the twentieth century century. The musical idiom of this movement was experimental, atonal (music that has no fixed key) and usually free inaccessible to untrained ears. Webern’s Langsamer Satz However, 1905 does not yet belong to this avant-garde music. Although you can already hear innovative harmony here and there, which show similarities with the works of Schönberg same period, the music is very accessible and pleasant to listen. Unlike the songs of Zemlinsky and Schönberg (die scheduled for December 27 and 29) Webern chose a love poem without words. He was inspired during a walking tour with Wilhelmine Mörtl, his future wife. Unpleasant in its own words, Langsamer Satz was an ode to nature and to it carefree life with his beloved.

The Kerkenmarathon ends this year with Mozart’s Duo in G, KV 423. It is the only time this week that the artistic director & the guest programmer with no other musical friends together on it stage, although if you listen with your eyes closed you might not can guess that only two musicians are playing. Never you wonder where the other violinist and the cellist are, these two parts are so ingeniously intertwined and sound so rich that you almost forget that it is not a string quartet. Mozart wrote this duo together with the Duo in Bes, KV 424 in 1783 during a visit to his native city of Salzburg. It was a favor to his friend Michael Haydn (the younger brother of the great Joseph Haydn) who in time was running out. At the request of Archbishop Hieronymus von Colloredo of Salzburg (Mozart’s former patron) had to Haydn wrote six duets, but after completing four he sick. With Mozart’s help, Haydn was supposedly able to complete his assignment complete it yourself, although it seems almost impossible that Collerodo does nothing here has known about. Where Haydn mainly solo violin parts wrote accompanied by viola, Mozart created two totally full parties. Entertaining and brilliant music.