Mut zum Kontrast

The Italian pianist Filippo Gorini opened the second Kirchheimbolandener Piano "Young stars of the classical" Beethoven's "Diabelli" variations

With the appearance of the 1995 born Italian pianist Filippo Gorini the second edition of the Piano series Kirchheimbolanden was opened on Saturday evening. In this small festival guesting in three concerts the winners of the International Beethoven Competition Bonn in Kirchheimbolandener Stadthalle. It takes a lot of courage, self-confidence and of course an immense pianistic potential to do when one dares at just 20 years of Beethoven's "Diabelli" variations. This 33 Variations on a Theme by Anton Diabelli, who has remained more of a marginal phenomenon in the history of music, do not belong only to the most enigmatic, most bulky works of Beethoven. They are also one of the most technically tricky compositions of the Grand Master of the Classic. So tricky that, for example, a virtuoso like Franz Liszt never ventured to a public performance.

Filippo Gorini dares what. It combines the Beethoven works with Schubert's Impromptu in C minor and the "Douze Notations" by the late Pierre Boulez. It can also not be confused by a determined non-optimal acoustics in the city hall, sometimes very hard, can sound on the border with sharpness the wings. Also the mixer at the end of the hall, is controlled by the from the filming of the concert seems not to disturb him. The material will be shown live on a large screen, so you can watch the pianist on the fingers. But then, if need be readjusted during the concert cameras, that may well affect listening.

At the young Italians, so entirely without any Virtuosenpose without unnecessary antics, this all seems to bounce off. He does his thing. And he has a plan of the concert. It's all a question of contrast. Or rather, the contrasts. A design principle of music. A kind of primal block: Quick strikes slowly, loudly silent, mourning to rejoicing, thoughtfulness on unruly temperament. You can structure your music, their reproduction according to this principle. Gorini proves that even in the twelve twelve cycles spanning parts of Boulez at the beginning. You can hear the rigorous innovators and revolutionaries, who once wanted to blow up the opera houses in the air, as well as the great humanist Pierre Boulez, for the music always was embassy, ​​though not always joyful.

Then Schubert. Everything seems clear. Pure romance. But after a hinge thundered first chord we hear first mainly: Legato refusal. Everything Sweetish is spared, and Schubert begins abruptly on to shimmer in different colors. As just is not only the unhappy love miller or out into the winter displaced persons and for his love dupes from the song cycles that we indeed both always equate with the composer Schubert. There is then the key-Titan, the genius Schubert, which did not need to fear the model Beethoven. Fascinating how it manages the pianist to give these different facets expression with a single Impromptu. And an ideal school for the concert highlight. Beethoven, in 33 variations.

Hard work especially on the Gorini still takes two encores by Mozart and Chopin. Even the emotional yet, after this roller coaster ride of the "Diabelli" variations. It goes up and down, back and forth, always circling the subject, which was actually far below Beethoven's level. He despised it, ridiculed him with his typical grim humor; but he lifted it by its variations also in another, a higher sphere.

It's a long, strenuous, but also touching travel until this circle also harmoniously again. The last variation, a minuet, lands again in C major. The whole cosmos Beethoven precisely, and nowhere is the Titan, this misanthropic predisposed giant, have been in a better mood. he has rarely proved more humor. This is for a 20-year-olds actually an impertinence in the best sense of the word. Because everyone unreasonable underlies a confidence. Filippo Gorini any case will be rewarded for his courage.

Frank Pommer, Rheinpfalz
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