Bruckner was there on Friday at the Mariendom in Linz in a choir and orchestra concert with famous artists – specifically the Prague Philharmonic Orchestra led by Eugene Tzegan and the Prague Philharmonic Choir (Lukas Vasilek).
As a soloist, Claudia Barinsky admired the confident soprano singer and Russian baritone Nikolai Borshev.
Richard Weitz, connoisseur and admirer of Mr.
The program included Brackner’s 150th Psalm and, for the first time, the song “Cantos in Memory of Benjamin Britten” by Arvo Bart for chord orchestra. A new find is also a requiem for Bruckner’s admirer Richard Weitz (1875-1935), who was unjustly forgotten.
Weitz studied the degrees of his beloved master and even devoted his studies to him. There must have been some kind of soul mate that connected the two, as they had never met in person. As far as her work is concerned, sacred vocal music plays a major role.
The legendary quality of Czech musicians
Weitz’s Requiem in Minor B for soprano, baritone, mixed chorus and orchestra reference 50, first shown in 1926, clearly reveals Bruckner’s influence. Regarding the technical mastery of the composition, Weitz is undoubtedly a disciple of Bruckner without any epigonal characteristics. The independent language of funeral mass in late nineteenth-century style uses no strict contrapuntal homogeneity or development.
Rather, the work is impressive with its exquisite movements and the vocal style of sacred compositions that were typical of the time. The dark, impressionistic-colored vocal images evoke emotional depth and lead to harmoniously and melodicly appealing choral passages.
The quality of the Czech musicians is almost legendary, which also ensured success this time, as the American conductor Eugene Tzegan (40), who was a guest here this year, stood on the podium. The hour-and-a-half evening was particularly impressive at the sacred site, although some of the dynamic acoustic subtleties are difficult to achieve due to the perfect acoustics of church parties.
Unfortunately, out of ignorance, the audience applauded the individual parts of the block, and the sublime content of medieval texts from the poignant enthusiastic beginning to doomsday, rising to Wagnerian greatness, suffered from the lack of tension in a closed performance. Applause grateful for a new valuable meeting.
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