Schostakovich days in Gohrisch with premiere | EUROtoday

In Europe’s music panorama, the International Schostakovich Days are Gohrisch one of the crucial compact festivals. Compact, however with width, depth and width. In the fiftieth yr of the composer Dmitri Schostakovich, who composed his eighth quartet in Gohrisch in 1960, the subject of loss of life and transience was significantly vital within the room.

The room is a barn right here. In GDR occasions from prefabricated concrete components, now supplied with a photo voltaic roof and usually meant for storing dry straw, it’s frequently transformed right into a high-sound live performance barn, which creates some chamber music corridor acoustically within the shade.

After the publicist Bernd Feuchtner, President of the German Schostakovich Society, who died on February 12 on the age of 75, had made the Gohrischer Genesis of the eighth String Quartet public, there have been rapidly some fanatics who initiated a pageant at this place. Without lively help from the Saxon State Chapel and its live performance dramaturge Tobias Delimance in addition to with out the assistance of dedicated residents from Gohrisch and the encompassing space, it will hardly have been doable, which now happened within the sixteenth yr and frequently attracts a global Schostakowich neighborhood on this first well being resort of Saxon Switzerland. The International Schostakovich Prize has now been awarded to the state band, based 477 years in the past, which has been deserved for the work of this composer for nearly eight many years.

Under the musical path of Dmitri Jurowski, whose father Mikhail Jurowski, within the successor of his father, composer Vladimir Jurowski, grew to become a briefly companion of Schostakovich, the state chapel performed the eighth string quartet within the model for string orchestra of Rudolf Barschai. Almost like a requiem, this efficiency, which first invited with the orchestral model in a pageant yr for comparability of the unique quartet – additionally interpreted by musicians from the Staatskapelle within the opening live performance.

In basic, there was a whole lot of loss of life ideas within the fairly confidently as “a highlight of the Schostakovich Memorial Year”. The nucleus of the Schostakovich Days could be discovered within the composer’s most autobiographical string quartet, within the haunting of life in life beneath essentially the most sophisticated exterior circumstances. At the identical time, there’s a closeness to loss of life. The C minor quartet with the recurring sound sequence of D-ES-CH-the composer’s musical initials-should be in its reference to the stream motif of creative confessional character. Individual self -assertion, intently associated to concern of loss of life, however within the resignative finale with the impression of an open door.

Schostakovich has repeatedly expressed this battle in each his symphonic work and in chamber music. When the 14th Symphony sounded in Gohrisch, introduced by the Kremerata Baltica beneath the fascinating conductor Mirga Gražinytė-Tyla, Rainer Maria Rilke’s closing phrases have been programmatically within the room: “Death is great. / We are the his / laughing mouth. Schostakovich’s life was marked by this closeness to death: in his symphonic, but even more in his chamber music work.

The Russian human rights activist Irina Scherbakowa drew attention to this in her opening speech. Schostakovich is more up to date today than ever, she said and rated his music as a warning against the threat of humanism. The co -founder of the human rights organization Memorial, who lives in exile in Berlin today, referred to Schostakovich’s “nervousness case”, with which he wanted to be prepared for any interrogations or arrests. So it was far from many of his contemporaries, of whom not everyone survived; The situation is similar in today’s Russia.

The poet Marina Zwetajewa, for example, took life in 1941 under the impression of the Stalinist persecution and hanged herself in Jelabuga. Jewgeni Jewtuschenko put a memorial in the poem “The Nail of Jelabuga”, of which Schostakovich set in his last years of life (“Don’t overlook: there’s / solely there’s murders on the planet, / there’s none”) has now been completed by Alexander Raskatov and was premiered by Belarusian bass Alexander Roslavets. A brilliant song evening, which was enforced by Andrei Korobeinikov with pieces from Bach’s “properly -tempered piano”, during which Schostakovich’s humorousness and sarcasm was as soon as once more expressed.

His “Foreword to the Complete Edition of my Works”, composed in 1966, is a dazzling satire and could have made life very difficult for him. Despite all the fear and melancholy, the composer’s background humor was not to be killed, as he demonstrated in his song “The Kitchen Charge” (“Tarakan”), which was created in 1974. This could also be sparkled in color in Benjamin Fleischmann’s opera “Rothschild’s violin”, which Schostakovich accomplished in 1944 and Dmitri Jurowski has now premiered in a German -language model for chamber orchestra created by him.