Antoine Tamestit | Viola
Alja Velkaverh-Roskams | Flöte
Blaž Šparovec | Klarinette
Natalie Chee | violin
Bonian Tian | Violoncello
Alexander Schubert | Schlagzeug
Megumi Hashiba | Klavier
Patrick Hahn | Moderation

Morton Feldman
The Viola in My Life 1 (1970)
für Flöte, Schlagzeug, Klavier, Violine, Viola (solo) und Violoncello

Morton Feldman
The Viola in My Life 2 (1970)
für Flöte, Klarinette, Schlagzeug, Celesta, Violine, Viola (solo) und Violoncello

Morton Feldman
The Viola in My Life 3 (1970)
für Viola und Klavier

Johann Sebastian Bach
Prélude (1720)
aus: Suite für Violoncello solo Nr. 1 G-Dur BWV 1007

Paul Hindemith
Rasendes Zeitmaß. Wild. Tonschönheit ist Nebensache (1922)
aus: Sonate für Viola solo op. 25,1

Tristan Murail
C’est un jardin secret, ma sœur, ma fiancée, une fontaine close, une source scellée ... (1976)
für Viola solo

Das Konzert im Radio: Freitag, 20.05.2022, WDR3 Konzert, 20:04

Gürzenich-Orchester Köln

Can an instrument be highlighted more effectively? In Feldman’s four-part cycle, the viola is placed in a changeable chamber music context. It generally sets the tone, both in a metaphorical and a compositional sense. Its sound character decides musical parameters such as pitch, duration and sound volume, instead of any narrative intention of the author or genre conventions of a solo concerto. The indications in the score merely model the micro-structure of the sound surface, a series of intricate patterns which continuously vary and flow into one another, without ever resulting in a comprehensive form.

This abstract expressionism, which Feldman found in visual works by Mark Rothko, Jackson Pollock and Willem de Kooning, makes extraordinary demands on the performers. Without the scaffolding of an overarching, theme-based dramaturgy, the goal is to create a fragile arc of tension using only minimalist nuances of sound, rhythm and dynamics.